Cosmología y música en los Andes [incompleto] 3893545557, 8488906307

Citation preview

BIBLIOTHECA IBERO-AMERICANA VERVUERT

M ax P eter Baumann (ed.)

Cosmología y Música en los Andes

B aum ann (ed.) Cosm ología y M úsica en los A ndes

B IB L IO T H E C A IB E R O -A M E R IC A N A Publicaciones del Instituto Ibero-Americano Fundación Patrimonio Cultural Prusiano Editado por Dietrich Briesemeister Vol. 55

BIBLIOTHECA

IBERO-AMERICANA

Cosmología y Música en los Andes M ax Peter Baum ann (ed.) International Institute for Traditional M usic

VERVUERT

• IBEROAM ERICANA

1996

Patrocinado por Deutsche Forschungsgem einschaft (DFG), Bonn/ A sociación A lem ana de Investigaciones C ientíficas, Bonn Ibero-A m erikanisches Institut, Preußischer K ulturbesitz (IAI), B erlin/ Instituto Ibero-A m ericano, Patrim onio Cultural Prusiano, Berlín L ateinam erika-Institut der Freien U niversität Berlin (LA I)/ Instituto L atinoam ericano de la U niversidad Libre de Berlín Senatsverw altung für K ulturelle A ngelegenheiten, B erlin/ D epartam ento de A suntos Culturales, Berlín Senatsverw altung für W issenschaft und Forschung, B erlin/ D epartam ento de Ciencias e Investigación del Senado, Berlín

D ie D eutsche B ibliothek - C IP-Einheitsaufnahm e C osm ología y m úsica en los Andes / International Institute for Traditional M usic. Max Peter Baum ann (ed.).- Frankfurt am M ain : V e rv u e rt; M adrid : Iberoam ericana, 1996 (B ibliotheca Ibero-A m ericana ; Vol. 55) ISBN 3-89354-555-7 (Vervuert) ISBN 84-88906-30-7 (Iberoam ericana) NE: Baum ann, Max Peter [Hrsg.]; International Institute for Traditional M usic ; G T © V ervuert V erlag, Frankfurt am M ain 1996 © Iberoam ericana, M adrid 1996 A partado Postal 40 154 E - 28080 M adrid Reservados todos los derechos Diseño de la portada: M ichael A ckerm ann Ilustración de la portada: K utscher 1950, ver p. 50 en este libro Com posición: IITM /U rban Bareis Im preso en A lem ania

C ontenido Prefacio D ualidad C o sm o ló g ic a y M úsica A ndina M ax Peter Baumann Andean Music, Symbolic Dualism and Cosmology Henry Stobart Para and q’iwa—-Worlds of Sound and Meaning W alter Sánchez Cañedo Algunas consideraciones hipotéticas sobre música y sistema de pensam iento. La flauta de pan en los Andes bolivianos Félix Layme Pairumani La concepción del tiem po y la música en el m undo aymara Ingrid Bettin La idea del bien limitado en el pensamiento andino Ellen Hickm ann The Iconography of Dualism. Precolum bian Instrum ents and Sounds as Offerings. M ito, Rito y el D in am ism o d e los C iclos C erem o n ia les A n n e Marie Hocquenghem ., , Relación entre mito, rito, canto y baile e imagen: afirmación de la identidad, legitimación del poder y perpetuación del orden Sabine Dedenbach-Salazar Sáenz La comunicación con los dioses: sacrificios y danzas en ^ la época prehispánica según las “Tradiciones de H uarochm Carlos Alberto Coba Andrade Etnografía musical: bailes y danzas. Ritualismo y sacralizacion M anuel M am aniM . . El simbolismo, la reproducción y la música en el ritual. M arca y floreo de ganado en el Altiplano Chileno lohn M. Schechter _ ., T radition and Dynamism in Ecuadorian Andean Q uichua sanjuan. M acrocosm in Formulaic Expression, M icrocosm in Ritual A bsorption

6

F iestas T radicionales: S istem a s R eligiosos y D im en sio n es C o sm o ló g ica s Bruno Schlegelberger Aspectos cosmológicos de la religiosidad andina Gabriel M artínez Saxra (diablo)/Pacham am a; música, tejido, calendario e identidad entre los jalq’a Rosalía M artínez El Sajjra en la música de los jalq’a Elisabeth den Otter Sacred Time and Space: the Festival of Saint Elizabeth of Huaylas (Ancash, Peru) Roy Youdale La Fiesta de San Bartolomé o de los Ch’utillos de la ciudad de Potosí: música y danza en una fiesta citadina andina

271

283 311

323

333

C o sm o lo g ía P oética: C antos T radicionales y T e x to s N arrativos Martín Lienhard La cosmología poética en los waynos quechuas tradicionales Peter Masson Algunas dimensiones cosmológicas en dos textos narrativos de tradición oral Edita V. Vokral La instauración del orden: las coplas de carnaval y su am biente social (Provincia del Chimborazo, Ecuador)

353

369

397

Edita V. Vokral y Rafael Alvarez Las coplas de carnaval en los cantones de Cham bo y Riobamba (Provincia del Chimborazo, Ecuador)

417

Claudius Cristóbal Giese El canto como canal o vía comunicativa entre los mundos. Los cantos mágicos de los curanderos del norte del Perú (costa)

439

Contenido

T radición y M odernidad: La C o m p lem en ta ried a d d e los C ontrarios Gisela Cánepa Koch Danza, identidad y m odernidad en los Andes. El caso de las danzas en la fiesta de la Virgen del Carmen en Paucartam bo Thomas T unno From Essentialism to the Essential: Pragmatics and Meaning of Puneño sikun Perform ance in Lima Rodrigo Montoya , Música chicha-, cambios de la canción andina quechua en el i eru juliana Ströbele-Gregor C ultura política de los aymaras y los quechuas en Bolivia. Acerca de las formas aymaras y quechuas de relacionarse con la m odernidad Jürgen Gölte Una paradoja en la investigación etnohistórica andina S u p le m e n to Indice Autoras y Autores

Prefacio Tem a del presente tom o es la forma cosmológica de pensar y proceder, tal como la manifiestan la música, el lenguaje, la literatura y la historia en las tra­ diciones indígenas de los países andinos. Bajo el térm ino “A ndes” se com ­ prende aquí esencialmente los Andes centrales. Se trata, sobre todo, de aquellos países como Bolivia, Perú, E cuador y Chile, que obtuvieron su ca­ racterística peculiar de las culturas lingüísticas de los quechuas y aymaras. P or “cosmología” se entiende en el sentido más amplio el estudio de aquellos conceptos culturalm ente determ inados que contemplan la creación, estructu­ ración y continuación del universo y que expresan estos conceptos a través de pautas, símbolos, lenguaje y metáforas. Las investigaciones sobre relacio­ nes universales y la historia de sus imágenes cosmológicas del m undo siempre suelen estar ya entrelazadas unas con otras. Se analiza actualmente la música de las culturas andinas y se averiguan sus (pasados) principios de orden cos­ mológico en la apreciación del espacio y el tiempo, el ser humano, la natura­ leza y la cultura, y en la contemplación de la estructura, la función y la forma. Tem áticam ente se discute sobre todo la reflexión del micro y macrocosmos en la representación en la música, el baile, el canto y el rito. P or principio se incluyen en la temática otros sistemas de representación como, por ejemplo, fuentes arqueológicas, iconográficas y documentales. Punto de partida sigue siendo el área de observación etnográfica, desde el cual se intenta introducir­ se en el pasado para examinar la visión universal andina de manera re-cons­ tructiva. La mirada hacia el pasado pretende esclarecer la presencia etno­ gráfica, ampliando, al mismo tiempo, de manera complementaria los diferen­ tes m odelos de interpretación. El folklore urbano actual se considera más bien como perspectiva y no constituye el punto de observación central. El carácter interdisciplinario de los aportes enfoca el objeto desde los puntos de vista de la etnomusicología, la antropología cultural, la arqueología, la etnohistoria, la ciencia literaria, la filosofía y la teología, para dem ostrar en la m ultiplicidad de los aspectos la relación específica entre la música andina y la cosmología. Los diferentes trabajos están agrupados en forma suelta, sin guardar siem­ pre una secuencia lógica en cuanto al contenido. Con ello no se postula una coherencia tem poral ni geográfico-cultural. Pese a la diferencia en los plan­ teamientos, temas y puntos de vista, se realzaron, no obstante, en la agrupa­ ción algunos conceptos claves que, como guía, marcan los bloques temáticos respectivos. Visto metodológicamente, es la indagación de la relación entre estructura y función la que ocupa el prim er plano. Con miras a plantea­ mientos de orientación más bien histórica con respecto al problem a de la re­ construcción de las estructuras consideradas como “andinas” se describen, analizan e identifican numerosas interpretaciones de textos, derivados de fuentes iconográficas o arqueológicas. Frente a éstos están los planteamientos

10

Prefacio

esencialmente etnográficos que, basándose en resultados de investigaciones de campo, describen y analizan la función de ritos, fiestas, cantos y tipos de música. El conflicto, a m enudo latente, entre funcionalistas y estructuralistas es superado— con miras a una dimensión histórica— quizás por el hecho de que las funciones puedan también ser descritas través de sus estructuras, al igual que, a la inversa, las estructuras también cumplen funciones especiales. Fiel al concepto andino de lo complementario, no es posible ver aquí lo uno u lo otro en su exclusividad. N o se trata de un si/no, sino más bien de un tan­ to/com o. D ado el elevado grado actual de fragmentación de las ciencias aisla­ das y sus intereses especiales, siempre seguirá siendo necesario introducir una manera de pensar sintetizante e integral en las diferentes ramas de la ciencia. Esto se aplica también para cada temática que indaga en las imágenes universales, en las cosmovisiones y en la com prensión del m undo. El que hubiera de descubrirse una exclusiva “imagen andina del m u n d o ” o una “m anera de pensar andina”, sería seguramente un malentendido. Más bien se trata de descubrir la multiplicidad de los aspectos que— como es de supo­ ner— sean sustentados por una estructura común. Quizás sea esta estructura el principio de lo com plem entario que com prende el todo siempre como in­ terpretación creativa de los opuestos. A diferencia del pensam iento occidental-cartesiano, que hasta bien avanzado el siglo XX proclam aba repetida­ mente su derecho a la verdad religiosa, a la supremacía cultural y tecnológica, y que con demasiada frecuencia creía saber cuál era el único “verdadero esti­ lo de vida , el pensam iento andino” parecía caracterizarse más bien por aquel dualismo simbólico-complementario, capaz de com prender lo total­ m ente diferente siempre como una parte de lo propio y que al chocar con contradicciones busca en prim er lugar el equilibrio de las fuerzas. Las C on­ cepciones del m undo son entendidas siempre de manera metafórica y prag­ mática; en todas sus manifestaciones fragmentarias quedan sometidas, sin embargo, a una manera de pensar y de actuar integral que siempre dem anda lo com plementario, ya por el hecho de que cada fiesta tradicional siga siendo estructurada como un resultado total entre el orden y el caos. En el trans­ curso total de las festividades, la música, el baile, el rito, la religión, la ves­ timenta y los colores se relacionan siempre con todo el orden social y colec­ tivo. Al mismo tiempo, como acontecimiento individual, se adaptan íntegra­ mente al ciclo anual y también al agrario. Sin embargo, es necesario tom ar conciencia de que tanto una reconstruc­ ción histórica de imágenes del m undo como asimismo una descripción siste­ mática no representan una mera identificación, sino que originan siempre una creación de m undos, o en las palabras de G unter G ebauer y C hristoph W ulf con miras a la formación de una teoría como mimesis de conceptos culturales dados: “Hablam os de cómo se crean m undos simbólicos, confec­ cionando nosotros mismos un m undo simbólico” {“Mimesis, K u ltur-K unstGesellschaft”/ “Mimesis, C ultura-A rte-Sociedad”, Reinbek bei H am burg 1992.33). P or medio de la observación focalizada, de la descripción y la

Prefacio

11

identificación ya estamos construyendo una realidad, entrelazándola cíclica­ m ente con aquella encontrada previamente. N o obstante, seguirá siendo un deseo central en el futuro trascender la mera ciencia de investigación para retornar, en la herm enéutica con aquellas otras imágenes, metáforas y sím­ bolos, a la creatividad que se fundam enta en el pensamiento andino. Seguir pensando en estas categorías, como lo ha prescrito por ejemplo Rodolfo Kusch en su libro “América P rofunda”, parece ser en todo caso uno de los em peños más im portantes para alejarse de la m encionada manera de pensar exclusivista y de las dem andas de verdad unilaterales, porque todo— como observa Kusch correctam ente— ya es acuñado por su opuesto: “Todo lo que se da en estado puro, es falso y debe ser contam inado por su opuesto. Es la razón p o r la cual la vida termina en muerte, lo blanco en lo negro y el día en la noche. Y eso es sabiduría y más aún, sabiduría de América” (“América P ro fu n d a”, Buenos Aires 1986:18). Veintiséis autoras y autores se ocupan del tema de manera interdisciplina­ ria. Seis trabajos están escritos en inglés, los veinte restantes en español. Los aportes siguen en prim er térm ino el concepto contextual del simposio; son versiones revisadas de las ponencias presentadas en ocasión del simposio internacional “Cosmología y Música en los A ndes”, celebrado en Berlín del l c al 6 de junio de 1992. El simposio fue organizado por el Internationales Institut für Traditionelle M usik (HTM) / Instituto Internacional de Música Tradicional, en colaboración con el Ibero-Amerikanisches Institut Preussischer K ulturbesitz (IAI) / Instituto Ibero-Am ericano Patrim onio Cultural Prusiano, y el Lateinam erika-Institut der Freien Universität (LAI) / Instituto Latinoam ericano de la Universidad Libre. Contó, además, con el apoyo de la D eutsche Forschungsgemeinschaft (DFG) / Asociación Alemana de Inves­ tigaciones Científicas, del Instituto Ibero-Am ericano y del D epartam ento de Ciencias e Investigación del Senado. El editor desea expresar aquí su agradecimiento a todos los autores de este tomo colectivo. Muy en especial desea agradecerle al Prof. Dr. D ieter Briesemeister, al Prof. Dr. Klaus Zim m erm ann (ambos del IAI) y al Prof. Dr. Jürgen G ölte (LAI) por su ayuda y apoyo de este simposio, así como a los colaboradores del IITM , señora Katrin Kuhl, señor U rban Bareis y Dr. Ulrich W egner por los esfuerzos por ellos aportados para la confección y el buen logro de esta publicación.

Max Peter Baumann

Dualidad Cosmológica y Música Andina

ANDEAN MUSIC, SYMBOLIC DUALISM AND COSM OLOGY Max P e te r B aum ann

M embers of Indian societies constitute more than half of the population in Bolivia’s central A ndes1. Most live in small rural setdements on m ountain plateaus (altiplano) and in the valleys of the cordilleras at an altitude of 2,500 to 4,500 meters above sea level, for which reason they are sometimes called “highland Indians.” The Spanish term indio (Indian) is a denom ination from outsiders and refers today primarily to the semantic, cultural, and social feel­ ing of solidarity among these groups. The Indios speak at least one of the In ­ dian languages as their m other tongue, and feel bound to the traditional An­ dean cultural heritage. Following the land reform of 1953, the term Indio was replaced in Bolivia by the now customary term of campesino (peasant or farmer). The majority of this rural population lives from farming and stockbreeding. They grow various kinds of potatoes, corn, wheat, quinoa (a kind of barley), and beans. These vegetables and livestock such as llama, sheep, cows and pigs today make up their staple diet. The numerically largest language groups of the Andean Highlands are the Quechua- and Aymara-speaking farmers. For the sake of simplicity, Indios or indigenous peoples who speak one of these languages are designated here as Quechuas or Aymaras, using the Spanish plural. In Bolivia Q uechua is p ri­ marily spoken in the departm ents of Cochabamba, O ruro, Potosí, and Chuquisaca, as well as in some provinces of the departm ent of La Paz. Q uechua is the runa sim i (language of the people), which has evolved from the classical Q uechua of the Inca Em pire (1438-1537). The Aymara lan­ guage has survived in the vicinity of the pre-Inca ritual sites at Tiwanaku near Lake Titicaca. The Aymaras or Kolias live primarily on the altiplano of La Paz and P uno as well as in relatively large areas in the departm ents of O ruro and Potosí. Many musical terms and concepts stemming from Aymara seem to have been transm itted to the Quechuas, who also use them (cf. Baumann 1979, 1982a, [forthc]). In addition to the Aymaras and Quechuas, a smaller group of Indios known as the Chipayas still survive near Lake Coipasa in linguistic and cul­ tural isolation. Today their language, Chipaya, is spoken by less than a thou­ sand people. It is assumed that the Chipayas, together with the Urus of Lake Titicaca, were among the first settlers of the Central Andes (Baumann 1981b: 171). The Callawayas (Kallawayas in Quechua) hold a unique position within the Q uechua-speaking provinces of Bautista Saavedra, Muñecas and parts of the provinces of Tamayo and La Paz. Among the Callawayas, ap­

16

Max Peter Baumann

proxim ately two thousand use their own esoteric language, Machchaj-Juyai (literally, “language of the com patriot or com panion”), but otherwise, in gen­ eral, they speak Q uechua. The Callawayas differ culturally from the Q u e­ chuas and Aymaras, although many reciprocal influences can be observed, appearing especially in the realms of music and musical instrum ents (cf. Baum ann 1985 b: 146—8).

I. Musical In strum ents and E nsem bles Typically, the traditional music of the Indios of the Central Andes uses a large variety of wind instruments, a smaller num ber of different kinds of drum s, and a few idiophones. W ith the exception of the one-stringed musical bow (arco selvático!musical or arco de boca), no stringed instrum ents were know n in pre-H ispanic Latin America (Baumann 1985a:158f.). It was with Spanish colonialization that various guitar types, such as vihuelas, lutes, and bandurrias, spread throughout the affluent mine centers of the Andean re­ gion. Through the mediation of the mestizos, the guitarrillo, jitarrón and charango (Quechua: charanku) were introduced to the campesinos of the alti­ plano and adapted and transform ed there (Baumann 1979:603f.). Unlike the urban folklore ensembles (conjuntos), which like to mix stringed instruments with some or all of the three basic types of flutes, the rural ensembles of the Indios (tropas)— with some few exceptions— consist of a set of only one type of melody-carrying instrument. The wind instru­ ments of a tropa are found in “choral” formation, that is, one can normally divide the musical groups of the campesinos into the three main types of flute ensembles, according to native categorization: the panpipe ensembles (sikus), the notched flute ensembles (kenas) and the duct flute ensembles (pinkillos). Referring to the rhythmical accompaniment, one might also, from the notative point of view, subdivide the tropa ensembles into flute ensembles w ith­ out drum accompanim ent and those with accompanying drums. W ind in­ strum ents obviously hold the most im portant position within the A ndean tra­ dition of the campesinos, followed by the drums, which are used primarily as accompaniment. Musical instrum ents and ensembles often have particular regional and in­ dividual names, varying according to the specific areas where they are played. This applies in particular to those musical terms classifying the different sizes or tonal registers of one generic type of instrum ent in one particular ensem ­ ble. In a duct flute ensemble from the Arque Province, the various charkas or pinkillos are divided into four categories according to their tonal register— similar to the idea behind divisions of soprano, alto, tenor and bass. Each in­ strum ent is assigned an individual name according to the register group to which it belongs. For example, the deepest and longest flute is called charka machu, the instrum ent belonging to the next higher register (about one fifth

Andean Music, Symbolic Dualism and Cosmology

17

higher) is called charka mala. O ne octave higher than the charka machu is the charka tara. The instrum ent belonging to the highest tonal register is called charka ch’ili-, it is also the smallest instrument, sounding one fifth higher than the charka tara and one octave higher than the charka mala. M achu, mala (also malta), tara and ch’ili symbolize at the same time the societal hierarchy: machu means “honorable” and is, as a rule, associated with the oldest and m ost experienced musicians, mala or malta means “interm ediate one,” while ch’ili refers to the “smallest” instrum ent, which is usually played by the youngest and least experienced musician.

2. Musical C h aracteristics Generally speaking the melodies produced by the various panpipe types are played m ost often in two to five parallel octaves. Parallel octaves also oc­ cur in some duct flute ensembles and in some kena ensembles. In ensembles of double-row panpipes, as well as in some duct flute and notched flute en­ sembles, parallel octaves will often be embellished by parallel sounds of fifths an d /o r fourths lying between the deepest and highest octave registers or, somewhat less often, by parallel intervals approxim ating a tritone. M ost instrum ental and vocal melodies possess a pronounced anhemitonic pentatonic structure. Although certain flute types have a diatonic tuning and therefore could be theoretically played in a diatonic way, the scales actually played by the campesinos are predom inantly pentatonically oriented. These scales are certainly m ore traditional and are, in terms of quantity, the prefer­ red ones as well. O f course many melodies with half-tone steps do exist, in particular in melodies with a wide range. Such melodies seem to be trans­ posed by shifting a fourth to a lower register or a fifth to a higher one; this occurs, for example, in some sikura ensembles. Such hexa- and heptatonic scales can be explained in terms of the com bination of two anhemitonic p en ­ tatonic scales whose tonal centers are arranged in layers of a sequence of in­ tervals built up first on the finalis and then on the upper fifth. Because of having to play W estern-like compositions such as national and regional an­ thems, in addition to the influence of urban folklore groups, traditional en­ sembles are m ore often adopting melodies tuned in major and m inor keys. In formal terms, the traditional melodies of the Indios are m arked by phrases that are relatively short and few in num ber. These phrases are repeat­ ed individually, and the melodies in their complete form are constantly re­ peated from the beginning (e.g., AA BB CC— da capo several times). The in­ strum ental pieces often begin with a drum introduction (qallaykuy), and after the often repeated main section (tukana/kantu/wirsu), there is a shorter coda section at the end (tukuchana). From the point of view of rhythm, a binary character predominates. This is related to the countless forms of the wayñu dance (Spanish: huayño). These

18

Max Peter Baumann

dances can consist of such steps as a rather forceful striding forward (as in processional music), small steps, steps with a trochaic character, a simple al­ ternating step, or hopping in place from one foot to the other (cf. Baumann 1983). The singing (takiy) of men and women is mosdy accompanied by one or several charangueros and is com bined with particularly lively and rhythmic dances that have their own stamping sequences (tusuna or zapateo). To the most im portant song genres belong wayñu, tunada (tonada, copla), yaraví, bailesitu (bailecito), and kw ika (cueca). In contem porary Bolivia, these are mainly perform ed in connection with the Christian festivals, such as carnival, Easter (paskua), Santa Vera Cruz (May 3rd), Todos Santos (November 1st), or Christmas (Navidad). T here are solo singers performing lari-wayñu and burruqhatiy songs who accompany themselves on the charango while jour­ neying through the countryside, as well as ensemble singing (taki, tusuna) and antiphonal singing between two contesting singers or groups of singers (takipayanaku). The individual melodies (tunadas, wirsus) and types of in­ strum ental ensembles (tropas) are tied to specific festivals with specific terms, such as the carnival music of the puka uma or pujllay ensembles (tonada del carnaval), the tonada de la Cruz, the cosecha wirsu (harvest melody), etc. (cf. Baum ann 1982b). Songs, dances, and music are associated with festive occasions such as the sowing and harvesting seasons, family celebrations (comprades) and w ed­ dings, comm unal celebrations in honor of the patron saints, and other occa­ sions special to each ayllu (ethnic groups bound by religion and territory). The festivities and music making reach their zenith when celebrating the var­ ious offering rites, such as offering drinks (ch’alla), incense (q’oa) or animals (wilancha), as well as during the animal branding ceremonies (k ’illpa). Music, song and dance always stand in close relation to and are an inseparable part of the diverse fertility rites directed towards superhum an powers and to nature. The most elementary figure of the dance ensemble (tropas) is the circle for­ m ation, in which participants dance in single file, the oldest first, the young­ est last. In the traditional ensembles instrum ents are played by men. W om en take a leading role in dance and song. They often wave colored flags (whipalas) in rhythm to the music. The dances always begin in a counter­ clockwise direction and after a certain time symmetrically change to the o p ­ posite direction. At this point the musicians make a half-turn on their own axis and continue dancing in the same formation, one behind another. This fundam ental pattern can be observed in many dances, as in the charangeada, the sikuriada, the chúkaru-baile of the julajulas, the ushnizatni of the C hipa­ yas, etc. T he circle dance is also com bined with dancing in single file [linku linku rayku, such as serpentine movements in the julajula dances) or with dancing in double rows as in lichiwayu dances. All of these formations b e ­ long to the main dance structures. The leader of the music group is the tata

Andean Music, Symbolic Dualism and Cosmology

19

mayor (cabeza de baile), who is responsible for the musicians, their food, and the schedule of the festivities, as well as for the decorations and dance form a­ tions. As a sign of his dignity as the dance leader, the tata mayor sometimes plays a p ututu (signal horn) and holds a whip in his hand. W ith the whip he sees to it that nobody dances out of step.

3. M usic, Ritual, and D an ce In the Central Andean Highlands, music, dance, song, and ritual are close­ ly intertwined. D ance is present in almost all group-oriented forms of music making. The Q uechua term taki (song) does not just contain the idea of lan­ guage that is sung, but also rhythmic melody and dance. The three key terms, takiy (“to sing”), tukay (“to play”), and tusuy (“to dance”), each emphasize only one aspect of the musical behavior as a whole. These three elements are complem entary to one another and signify the inherent unity of structured sound, movement, and symbolic expression. Musical behavior is always em bedded in a particular context within the ritually and religiously oriented cycle of the year. Music making and singing are determ ined by the agricultural cycle of the two halves of the year, the rainy season (when the seed is sown and the harvest is brought in) and the dry season (when the earth is tended and ploughed). The seasons also deter­ mine in general the kinds of musical instruments, melodies and dances that should be perform ed. N um erous festivals are celebrated for the deities b e­ longing to the earth. During these festivals, offerings are made of smoke, drink and animal sacrifices when the ground is tilled, the seeds are sown, as the plants grow, and as the people pray for a rich harvest. Each celebration has its own set melodies (ivirsus or tonadas) and its own musical instruments. Music and dance are, on the one hand, expressions of joy and at the same time offerings to honor Father and M other E arth (Pachatata and Pacha­ mama). Today, the various festivals must also be considered in connection with the historical layers and traditional re-interpretations that have been superim ­ posed through time. O ften, for example, the old astronomical (or Inca) cal­ endar, the Christian (or Gregorian) calendar, and the annual agricultural cy­ cle simultaneously influence such celebrations. All these different elements and fragments play their own roles and are often mingled together. The cosmological-religious world view of the altiplano Indios seems to be partially syncretistic. The traditional Central Andean beliefs still survive in part and have, at most, mixed with the Christian conception of faith and worship in a relationship of reciprocal influence. The Virgin Mary is asso­ ciated with the concept of Pachamam a (pacha = earth, mama = mother). Pacham am a, interpreted generally as the Virgin Mary, manifests herself on the local level as individual virgins (mamitas), such as the Virgen de Cande-

Max Peter Baumann

20

laria, Virgen de Copacabana, Virgen del Carmen, and Mamita Asunta (Vir­ gen de Asunción). The female concept of Pachamama is the timeless and fe­ male aspect of the M other Earth. T hroughout the centuries, incoming reli­ gious figures such as the Virgin Mary have been reincarnated as an element of this fundam ental principle. Pachamama became reborn as wirjin (virgen).

Dry Season m 21 June Inti Raymi “Sun Feast” (W inter Solistice)

21 M arch

22 Sept.

Qoya Raymi “Flower F east” (Fall Equinox)

“M oon Feast” (Spring E quinox)

21 D ecem ber

Qhapaj Raymi “G reat Sun Feast” (Summer Solistice)

Rainy Season

Fig. 1: Solistices, equinoxes, dry season/rainy season and the main feasts o f the old Inca cal­ endar (the year o f the agricultural calendar begins on ]une 21st, the year o f the ritual calen­ dar at the summer solistice, i.e., December 21st).

W ithin the belief system of an Andean farmer, the local manifestations of Pacham am a/W irjin are expressions of the one principle of Pachamama. Pacham am a is the m other of humans, the source of all fertility, and the sym­ bol for growth and decline within the overall concept of time and space. For example, in the departm ent of O ruro during the rainy season, charkas flutes are sounded in honor of Pachamama in order to express thankfulness for the first good harvest of the season. The charkas are duct flutes of various sizes (built similarly to the recorder) which are played by men to accompany the dances, together with a cow horn, or pututu. U nm arried girls accompany

Andean Music, Symbolic Dualism and Cosmology

21

these instrum ents with a high falsetto voice, singing “Takisun pachamamaman mañarisun” (“Let us sing and call to the Pacham am a”). Various other duct flutes such as pinkillos/pincollos, mohoceños/'aymar as, ch’utus, tokurus, and tarkas/anatas are traditionally played mainly during the rainy season, that is, starting on All Saints’ Day (Todos Santos, N ovem ber 1st) until the carnival season in February or March. These instrum ents b e­ long to the “fem ale” cycle of the year. The distinction between “fem ale” and “m ale” times of year can be partly seen as a rem nant of the old Inca calendar (see Figure 1). According to this calendar, the sun festival of the king (Inti Raymi), which was the main festival of the dry season, was followed by the festival of the queen (Koya Raymi). The wooden duct flutes symbolize the fe­ male principle of irrigation, of becoming fertile after the quiet and dry time; they express joy over the sprouting seeds and the harvest. The connection of these instrum ents with the element of water is emphasized by the fact that they are sometimes filled with water before being sounded so that they can becom e saturated and thus airtight. Because of the superim position of the festivals by Christian religious concepts, the duct flutes are also closely related to the num erous festivals of the Virgin Mary that occur during the rainy season, such as the Fiesta de la Concepción (December 8th) or the Fiesta de Candelaria (February 2nd). The instruments proclaim delight over the Christmas season and the New Year. The Bolivian summer solstice (De­ cem ber 21st) coincides with the highpoint of the rainy season, as well as with Christmas festivities. Varying somewhat in length according to latitude, the rainy season (called paray m it’a in Q uechua and jallu pacha in Aymara) lasts from around the beginning of N ovem ber to the end of M arch or beginning of April. In contrast to those instrum ents played during the rainy season, there are musical instrum ents— panpipes and notched flutes— which are made of hard bam boo and are played predom inantly during the dry season. These instru­ ments are closely tied to the mainly “m ale” festivals taking place during the other half of the year, such as for Santa Cruz (May 3rd) and Corpus Christi (end of May or beginning of June), as well as during the num erous festivals honoring particular (male) saints. These feasts are all linked to the concept of Pachatata or Tatapacha (tata = father; pacha = earth). The dry season, called ruphay m it’a in Q uechua and thaya or aw ti pacha in Aymara, reaches its zenith at the Bolivian w inter solstice on June 21st (Inti Raymi); soon after­ wards, the great festival of San Juan takes place on the “coldest night” (June 24th). D uring this dry season, the instrum ents predom inantly used are the notched flutes m ade of bam boo (kenas, chokelas, kena-kenas, lichiwayus, pusi-ppias) and panpipes (sikus, sikuras, antaras, julajulas, laqitas). These in­ strum ents are associated with the male principle, represented also by the sun, the dry season and the wind (see also Section 5).

Max Peter Baumann

22

4. E verything is Man and W o m a n — P a ch am am a and P achatata Pacham am a and Pachatata symbolize the concept of pair form ation as a basic principle that underlies all phenom ena in nature. The principle of com ­ plem entary masculinity and femininity symbolizes in its basic features A nde­ an thinking, as in the saying, “tukuy ima qhariwarmi”— “Everything is man and w om an” (Platt 1976:21). The living earth (pacha) as holistic conception is man-woman. Everything that is, as well as each thing individually o b ­ served, is com posed of both complementary poles of female and male basic characteristics. The one does not exist w ithout the other, no light (sut’i) w ith­ out darkness (laqha), no day w ithout night, no sun w ithout moon, no dryness w ithout wetness, no above w ithout below, no thing that moves w ithout that which is moved, no thing that begins (ira) w ithout that which follows (arka). In addition, each individual body, each thing that exists, is assembled from com plem entary opposites. The right side of the hum an body is masculine, the left side is female. The front side of the body facing the sun is masculine, the back side in shadow is female; this applies correspondingly to the head and feet. Even the highest principle of creation, Wiraqucha, composed of the two invisible aspects Pachakamaq or Pachayachachiq, is man and woman. It is an evolutionary principle that is to be understood as androgynous, from which all polar opposites emanate2. Everthing that exists in the heavens, on the earth, and everything that is created is bound together with everything else and is com posed in microcosmos as in macrocosmos— on all levels of reality— of their male and female characteristics, which complem ent each other (Kusch 1986:30f.; Andritzky 1989:299-304). According to an Aymara saying, everything in this world is an individual reality (“Taquipuniw aka pachanx m ayaki”). Everything is related to everything else in a mesh of hier­ archically ordered relationships of exchange between complementary oppo­ site pairs (van den Berg 1990:158). O ne of the prayer hymns (jailli) w ritten down by Cristóbal de Molina from Cuzco around 1575 characterizes in a few verses how everything that exists is created in dual form (Lara 1980:37f.): Tijsi Wiraqucha, Qaylla Wiraqucha, T'ukapu ajnupúyuj, Wiraqucha. Kámaj, chúraj, Qhari kachun, Warmi kachun, Nispa rúraj.

Andean Music, Symbolic Dualism and Cosmology

23

Origin of Being, W iraqucha, always present principle of creation, elegant and beautifully clothed, principle of creation, that blesses and gives life, and the becoming of man and woman through a word produces.

A profound poem transm itted by Santacruz Pachacuti Yam qui around 1613 bears witness to something similar, a poem that poses questions about such bipolar, all-pervasive and mutually dependent evolutionary sources: “W here are you?”— “maypin kanki?"— “oh, pow er of life, root of all things?” (H arrison 1989:92-5). Ah, Wiraqocha tiksi qhapaq kay qari kachun kay warmi kachun Maypin kanki? manachu rikuykiman hananpichum urinpichum intiqa killaqa punchawqa tutaqa poqoyqa chirawqa manan yanqachu kamachisqam purin Oh, power of life, root of all things, highest power, you say, let man become, you say, let woman become W here are you? Can I not see you? Above? Below? Sun, moon, day, night, rainy season, dry season not without meaning, to the (highest) order, they follow their path.

All creations follow the prim ary principle of polar opposites. Above is masculine, below is feminine. Com plem entary are the pair of constellations of F ather Sun (inti) and M other M oon (killa). There are masculine and fem ­ inine stars: the masculine m orning star achachi ururi and the feminine eve­ ning star apachi ururi (H arrison 1989:66). In the vertical order, heaven above is masculine, the earth below feminine. In the horizontal order, the earth is divided into the masculine m ountain chains (Wamanis, Apus or Cerros) and

Max Peter Baumann

24

the fem inine pam pas (Earls & Silverblatt 1978:319). T he w ater of the oceans and seas is feminine, b u t the rain from above that fecundates the earth is not. T here are masculine and feminine stars, plants and animals (van den Berg 1990:161). All are aspects of two concepts of energy that are mutually com ­ plementary: from above to below, from below to above, from left to right, from right to left (Arnold 1986:4), from light and dark, day and night, air and earth, fire and water, hot and cold. The law of com plem entary opposites affects all forms of flowing existence, which are united in pairs. It works on the earth, in the sky, and during annual cycles. The dimension of sky spread­ ing over the earth (hanan pacha or pata parti) is represented by the pair Tata Inti and M am a Killa. O ne finds its analogous equivalent in “this w orld” (kay pacha)— betw een heaven and earth— in the hum an pair of man and woman (qhari, warmi). A nd the chthonic forces of Pachatata and Pacham am a apply in the dark Below (ukhu pacha), and in the inner parts of the earth, in the m ountain mines, where they are called Tío and Tía (Arnold 1986:2, 7). Pachatata and Pacham am a refer in general to the earthly realms, to the plains and to the m ountain peaks. W ithin this cosmologically oriented con­ cept built up in pairs of opposites, hum ankind lives here on the edge of space, betw een sky and earth, and now on the cutting edge of time, between past and future (Figure 2). Past, present and future refer to each other and form a whole, the all-emcompassing cosmos, “pacha. "3

Kosmos: “pacha” (+ Space and Time)

Pairs

“W orld above”: quechua: janan pacha aymara: alax pacha Killa (M oon) Future: quechua: ja m u j pacha aymara: qhipa/jutir pacha “This W o rld ”: quechua: kay pacha aymara: aka pacha qhari (Man)

w arm i (W om an)

Presence: quechua: kunan pacha aymara: jichha pacha (N ow a n d H ere: T h e In teractio n o f p ast a nd future events in the space-tim e continuum )

Pach atata (F ath er E arth)

P acham am a (M other E arth)

“W orld b e lo w ”: quechua: u k h u pacha aymara: m anqha pacha Past: quechua: ñawpaj pacha aymara: nayra pacha

Fig. 2. Pacha as space-time-concept and the central pairs related to pacha.4

Andean Music, Symbolic Dualism and Cosmology

25

Pacha means in a narrow sense earth, including space, time, history, world— in a broader sense, however, also cosmos. Pacha expresses in its spa­ tial and chronic aspects the inner connectedness of the whole on all levels of w orld constructs. This connectedness is derived also from linguistic terms (Firestone 1988:36f.). In the assemblage of the words pacha plus space con­ struct (Above, H ere, and Below) as well as pacha plus time construct (Past, Now and Coming), everything is centered on H ere and Now. The past and not-yet-occurred is nothing m ore as another spatial aspect of above and b e­ low, or of front and back, just as vice versa, space appears as an aspect of time. Kay pacha symbolizes the transition from world below to world above, that is to say, between the feminine and masculine spheres lies the present world. It is in this world that the unification of polar fundam ental forces is accomplished; these forces are the basis for each continuous act of reproduc­ tion (Vokral 1991:317). The pacha space-time construct is contemporarily (re-)interpreted from today’s point of view in a mandala-like representation of the annual calendar (mara/wata) (Figure 3). Each of the four cardinal points referring to the level of earth represents among other things one of the four parts of the Inca empire (taivantinsuyu).

ALAXPACHA

-

JANAXPACHA

NA YR AP A CH A

JUTIRPACHA

Ñ A W PA X PA C H A

JAMUXPACHA

MANQHAPACHA

-

UKHUPACHA

Fig. 3. Pacha concept as contemporary reconstruction o f Tiwanaku Wiñayqala (Thola 1992)— mara (Aymara)Avata (Quechua): annual calendar.

Max Peter Baumann

26

However, the quarters themselves are each divided up in the next higher hierarchical level into complementarily assembled halves on the left and right side, or else the upper and lower halves of the emblem, symbolized through the vertical or horizontal imaginary line between the double-headed condor heads. Duality (dualidad) can be read from this view: Above and Below (hanan, ukhu) are divided by a horizontal boundary line. These meeting points of both oppositions, the chawpirana, cuts the halves and allows them simultaneously to meet each other. Each of the halves, the upper and lower and the left and right sides, are connected to each other to form a whole from two times two halves, or two times two pairs. It is in each case the m as­ culine and feminine characteristics that form one pair. Like man and woman (qhariwarmi) , they belong together as equal partners in a higher unit. They are yanantin, “tied to reciprocal help,” comparable to the symmetrical halves of each body (Platt 1976:11, 27). The symbolic representation of the entire unit opens up three-dimensionally to the observer of the emblem, as a view from above as well as from the front. From the perspective of “sky above” and “earth below ,” the light of heaven is attributible as the masculine and the darkness of earth as the feminine element. Both spatial halves, however, divide themselves again according to their own polar characteristics in such a way that the horizontal relationship of the pair (Inti-Killa, Pachatata-Pachamama) is symmetrical, while the vertical relationship is asymmetrical:

janan pacha

M ale (m)

F em a le (f)

In ti (Sun)

K illa (M o o n )

(Ä j.^

fm

M ale (L ig h t)

hay pacha F em a le (E a rth )

mf

ukhu pacha

P a c h a ta ta

Pacham am a

Fig. 4. Cosmological quadrants as a result o f creating pairs (cuatropartísmo cosmológico).5

Referring to the “earth below ,” ynama in Pachamama specifies the female aspects of being, procreation, growth and passing away, whereas Tatapacha or Taytacha (also Tayta O rqo, Apu or W amani) designates the masculine as­ pects, to fecundate, organize and to kill. They are the seemingly timeless principles of the earth which form all existence and become polar opposites and which manifest themselves individually and collectively in analogous ways. These principles have ruled through the centuries, also spreading to Christian images in later times. In the m other aspect, timelessness manifests

Andean Music, Symbolic Dualism and Cosmology

27

itself as a concrete manifestation of the historically restricted. The principle of Pacham am a is reborn in the process of historical superim position as M other G od (Mamita) or as the Virgin Mary (wirjin, ñusta). It is celebrated repeatedly and during the local and individual feasts as an expression of a tim e-spanning principle of life and fertility. The num erous integrated con­ cepts of the Virgin Maria, such as seen in the celebration of a particular festi­ val, should be interpreted from their historically concretized aspects re­ moved from space and time based on the general principle of Pachamama. It reveals itself as a concrete manifestation in local form during a specific period. The num erous “M arias” accentuate, through their individual charac­ teristics, local aspects of time and space of the general feminine principle that underlines them. In addition to this principle of effect there also exists, how ­ ever, the masculine principle of cause. In their complementariness, both p o ­ lar fundam ental forces complete each other, creatively guaranteeing in their coming together the persistence of all that is. This applies especially to “this w orld” of hum ankind, which comes out of the encounter between the “w orld above” and the “world below ” and'w hich remains continuously in their spheres of influence. “Pachamama también tiene su e s p o s o Earth M other also has a man (Firestone 1988:26). The masculine counterpart in the complementary p rin ­ ciple is Pachatata. Pachatata is— as already m entioned— the creative aspect to the polar counterpart of the receiving aspect of Pachamama. Superim ­ posed with Christian symbolism is Tata Krus (= Father Cross), a manifesta­ tion of the masculine principle in the concrete form of Christ. The great feasts of the dry season such as Santa Vera Cruz (on May 3rd) and Corpus Christi (end of May or beginning of June), as well as the other num erous feasts honoring the (masculine) saints such as Tata San Juan, Tata Santiago or Tata Agustín, are em bedded in a special context of local aspects of the Pachatata cult. Tata, tayta, taytacha, tatala (= a synonym in Q uechua also for phallus), tatitu, and tatalitu indicate the diversity of forms of the masculine principle of form ation and cause. O ther connections with the name Christ or with saints dem onstrate in a similar way the emcompassing masculine p rin ­ ciple that contains in its local forms of expression a specific designation (Rocha 1990:78f.). M aria and Christ are simultaneously raised to a god-like pair of the earthbound numina. F or the w orld above, the m oon and sun gates were already known as an opposite pair in the pre-Incan tem ple of Tiwanaku. Félipe Guarnan Pom a de Ayala w rote down around 1530 a sung hymn (jailli) with which the Indios of Inca times prayed to Mama Killa, the wife of the god-like sun, for rain (Lara 1980:41; Sichra [ed.] 1990:6):

28

Max Peter Baumann Killa Quya Mama, Yakuq sallayki, Unuq sallayki, Aya uya waqaylli, Aya uya puypulli. Queen and M other Moon, Give us your water as a cloudburst, your flood of rain in streams, Cry, a h ! Let flow, ah!

This and similar jailli verses were sung during the tilling of the fields and breaking of the soil. Such verses also report, in alterating singing of men and women (takipayanaku), how the sun rains gold and the moon silver (Inti qori paran/Killa qolqeparan-, Lara 1980:44). Tata Inti of the Inca times was reinterpreted by the “christianized” peas­ ants as Tata Santisimu (Holy Father/Spirit), and Mama Killa became Mama Santisima (Holy M other) (Platt 1976:22). All principles stand however for the same symbolic dualism that stretches as a historically developed struc­ ture. In the plant world, the potato is, as a tuberous root of the dark earth, an expression of the dom inant feminine principle of form, and com , growing in the direction of the sun, is an expression of the dom inant masculine princi­ ple. In this division, however, each species or form is divided again into its polar sub-species or polar pair formations (Andritzky 1989:265). For exam ­ ple, potatoes are divided according to their ritual names into masculine and feminine forms or principles of creativity (jack’a mallku and im ill t ’alla-, van den Berg 1990:129). Symbolic dualism applies to all forms of existence, to hum ankind as well as to its society, to the animal and plant worlds, to the re­ alm of ancestors and the deceased (an ancestress is called aivicha and her masculine com panion achachi). This structural thinking transmits itself to within the division of labor: it is the man who tills the fields and breaks up the earth with a digging stick or plow, so that the woman can place the seeds in the earth. It is the men who play musical instruments, and the women who sing to them. The m ountains contain the life-giving principle and enclose as tata, apu, machula, achachila, wamami or mallku (which means C ondor or M aster of the M ountains) the center of energy of the consecrated peaks, in contrast to the feminine energies of the plains and valleys (awacha, awila, mamita, t ’alla). The specific names and deities or saints are categorized according to the local centers of power. They are called up on specific occasions, music and dance are presented to them as offerings in thanks for a good harvest or with the request for a fertile year. Pacham am a and Pachatata em body in a diversity of symbolic forms and variations the basic structure of Andean thinking. They personify themselves in further sub-aspects at smaller levels (lugarniyoj). Among the Chipayas, the protective spirits Mallkus and Samiris play an im portant role in the fertility of land and cattle. Sajama, the godly-masculine mountain, is honored with

Andean Music, Symbolic Dualism and Cosmology

29

offerings so that he will give the water necessary for life and thus fecundate the feminine principle of the fields, the M other Earth. The holy places (wakas) are integrated in the masculine m ountain peaks (jurq’u) and have their counterparts in the feminine w ater holes (warmi jurq’u), out of which the spring w ater flows (Platt 1976:22). According to an old mythical narra­ tive, the sun people are supposed to have emerged out of the love between the m ountain Illam pu and the Lake Titicaca. H um an beings live within this dualistically conceived cosmology in kay pacha— betw een the skies and earth. O n the one hand there is the wise man, called yachaj by the Q uechuas and yatiri by the Aymaras, who individually functions as a knowing intermediary. H e creates a connection, through pray­ ers and songs, between humans inhabiting this world and the deities. O n the other hand there are the collectively celebrated music rituals and festivals of the Indios which create, by means of honoring and offering, a common bridge between the profane and sacral, between above and below, between growing and dying, between Pacham am a/wirjin Maria and Pachatata/T ata Krus (Father Cross). Such collectively celebrated occasions are known as tinku or tinka (Spanish: encuentro), and include fertility rites, weddings, p ro ­ cessions and other festivities, some influenced by Christianity. The tinku rit­ ual of the Q uechuas is sometimes a mock battle between two groups. It is a powerful, forceful event. The tinka ritual of the Aymaras is also a meeting of contrasting groups, but it might be at a peaceful occasion. Tinku and tinka themselves represent a unity of complementary parts: “Tinka is the im por­ tant ritual action of bringing together separated or contrasting parts, such as the meeting during ritual of the highlands and lowlands, the vertical kin group and the horizontal kin group, and the living and dead” (Bastien 1978:12If.). It is the symbolic union “to express a bond of unity, distinction, and reciprocity,” which represents a third whole unit formed through an in­ terlocking principle. This new third unit, in turn, emanates power, energy; and reproduction. In the following section, this symbolic dualism will be illustrated through the ideas behind the panpipe ensembles as a particular paradigm of the an­ thropom orphic cosmology m entioned earlier. This paradigm also involves the tinku, here meaning the hocket technique of playing in complementary pairs of female (arka) and male (ira) instruments. Particular attention will also be given to the interlocking of various methodological approaches which lead to some theoretical considerations (cf. Section 5.1 and Footnote 7).

30

Max Peter Baumann

5. T h e C o n c e p t o f Pairs in Panpipe E n sem bles as Paradigm for th e E xpression o f Sym b olic D ualism T he traditional panpipe ensembles of the Indios in the Central Andes use the playing technique of interlocking pairs. Each ensemble contains several pairs of instrum ents, each pair combining a female instrum ent and a male counterpart. The pairs can be m ultiplied in several ranges of two to five dif­ ferent voice registers. Playing by pairs is encountered in specific panpipe ensembles such as maizus, julajulas, julu-julus, chiriwanos, lakitas, antaras or sikus, sikuras and phukunas, that is, in the most traditional ensembles of Aymara-, Chipayaand Quechua-speaking population groups. In addition, the individual rural music ensembles (tropas) of the Bolivian Indios consist, with only few exceptions, of identical melody-playing panpipe types. All panpipes appear in a “choral” setting as uniform panpipe pairs. As already m entioned, in opposition to the urban folklore groups of the mes­ tizos, the campesinos do not mix panpipes with other instrum ents such as the notched flute (kena), the duct flute (pinkillo/tarka) or with stringed instru­ ments. Name of the panpipe ensemble

Pair of stopped pipes

Distribution

maizus (or chiriwanos) julajulas julu-julu chiriwanos

(1) (4) (4) (4)

Chipayas Quechuas/ Aymarás Aymarás Quechuas/Aymarás

and and and and

(2) (1) (2) (2)

Table 1. Number o f pipes in different ensembles o f single-row panpipes (without drum ac­ companiment). Underlined numbers indicate closed pipes (see Footnote 9).

Name of panpipe ensemble

Pair of double-row panpipes (stoDDed + open pipes)

Distribution

lakitas/sikus lakitas/sikus lakitas /sikus phukunas ayarichis sikuras/ sikuris

(6+6) and (5+5) (7+7) and (6+6) (8+8) and (7+7) (7+7) and (6+6) (Z+7ü) and (7+Zu) Q7+17) and (12+17)

Aymarás/Quechuas Aymaras/Quechuas Aymaras/Quechuas Callawayas Quechuas Aymarás/Quechuas

Table 2. Number o f pipes in different ensembles o f double-row panpipes (with drum accom­ paniment).

P anpipe ensembles can be classified as either tropas containing single-row panpipes and w ithout drum accompanim ent or tropas with double-row p a n ­

Andean Music, Symbolic Dualism and Cosmology

31

pipes and accom panied by drums. M ost panpipe ensembles have, as a rule, several pairs of different sized instruments, that is, in different registers. It is often the case that several registers are played by more than one pair of p a n ­ pipes. Exceptions include the maizu ensemble of the Chipaya and a few o th ­ ers in which pairs of panpipes appear only in one register. In m ost cases, one pair is composed of one instrum ent with an odd num ­ ber of pipes and another one with an even num ber of pipes. In some ensem ­ bles, the pair consists of panpipes with an equivalent num ber of pipes. In either case, when the pair is expanded through the addition of other instru­ ments, those instrum ents maintain the same numerical composition. The pipes of each instrum ent are usually bound together in raft form according to size. Each m em ber of a pair is played by one musician. Tables 1 and 2 show the particular pairs of panpipes as they occur in the most usual ensembles in Bolivia. Each counterpart of a panpipe pair has a female or male connotation. This interpretation is provided by the native terminology as well as by the emic explanation of the musicians. Ira is the dom inant male-oriented instrum ent that usually starts the melody and leads the panpipe playing, while arka, its com plem ent, follows. Ira and arka are blown by two players in a hocket-like technique, that is, when ira plays one to four notes, arka rests and then con­ tinues the melody while ira rests, and so on. In this way arka and ira combine their notes to create a particular melody that results from an interlocking and com plem entary interplay. Playing in complementary pairs can be found in al­ most all traditional panpipe ensembles: among the simple maizu flutes of the Chipayas, among the diverse panpipe ensembles of the Aymaras and Q ue­ chuas, such as the julajulas, julu-julus, chiriwanus, lakitas, antaras, sikus or sikuris, as well as among the phukunas panpipes of the Callawayas. The Aymara w ord ira or irpa denotes “leader” or “the one who leads,” and represents a male principle, according to the campesinos. O ther names used for this same concept are sanja, pussak/pussaj (from Q uechua pussay: “to lead”) and the Spanish guía (leader) or primero (the first). The Aymara w ord arka/arca denotes the female and weaker counterpart, “the one who follows.” O ther names for arka with the same meaning are the Q uechua khatik/qhatij (from the infinitive qhatiy. “to follow”, “to go after”), and the Spanish trasguía (“the following”) or segundo (“the second”). It is quite likely that arka and ira are both Aymara words, but they are also used among Q uechua-speaking Indios6. T hree of the m ost common types of panpipe ensembles will be described in detail, with particular attention to the tuning and distribution of the pipes and with respect to the individual voice ranges. For this purpose, a julajula ensemble, a siku ensemble, a lakita ensemble and a sikuri ensemble are se­ lected as paradigm s to illustrate the complexity of different panpipe orches­ tras.

32

Max Peter Baumann

5.1 Julajulas: The ira-arka Principle o f Single-Row Panpipes The reciprocal relationship, in which each element is dependent upon the other, finds its simplest expression in the music of Andean julajula panpipe playing. These traditional pan flute ensembles are played predom inantly d u r­ ing one half of the year, the dry season, and are governed by the hocket tech­ nique betw een an instrum ent of four pipes and another of three pipes. Ira and arka are alternately blown by different players (Figure 5): while the first player plays one or two tones, the second player is silent and continues the melody when the first player pauses, and so forth. In this way the two in­ strum ents com plem ent each other through subsequent interlocking tones and create in hocket-like fashion a julajula melody of seven notes. Both the terms ira (Span, macho) and arka (Span, hembra) are used for Aymara and Q uechua julajula panpipes alike. The interlocking playing tech­ nique of panpipes is regarded as a kind of com petition (Span.: contrapunto). Some Quechua-speaking Indios call it purajsikinakuy, literally “we catch up with each other.” Among the Aymaras the technique is known as jaktasiña irampi arkampi (Valencia Chacon 1989:36), meaning “to be in agreement with ira and arka.” The character of the encounter or the coming together of a pair is also expressed in the description of the playing technique as tinku . A descending pentatonic scale w ithout half-tones (e’-d’-c-a-g) underlies the seven tones of both of the julajula panpipes, which are tuned to each o th ­ er (for example, e’-d’-c-a-g-e-d) (Figure 5). The name of such a melody, which is handed down only through oral tradition, is “wild dance,” chúkaru-

$

Fig. 5. A pair o f julajula panpipes (female arka instrument with 1 stopped pipes; male ira in­ strument with 4 stopped pipes) in middle liku register.

Andean Music, Symbolic Dualism and Cosmology

33

baile, an example of which is given here in transcription (Musical Exam ple 1). The tones played by the ira instrum ent are symbolized with notes whose stems point downward; those of the arka instrum ent are shown with stems pointing upward. The first Phrase A and the second Phrase B of the melody are each individually repeated and lead into the shorter part C, whose con­ tent is m ade up of individual notes of the (masculine) Phrase A and the (fem­ inine) Phrase B. In the coming together (tinku) of ira and arka, first the “leading” melodic Phrase A is played, which is “followed” (after its repeti­ tion) by the second melodic Phrase B. After this phrase is also repeated, the closing P art C is derived from the two repeated phrases. This melodic formal procedure (AA-BB-C) is repeated “da capo” innum erable times during the perform ance and in ritualized form to the dance of the whole ensemble (cf. Baum ann 1985b:160).

Da capo

Mus. Ex. 1. julajula panpipes— hocket playing o f ira (± stopped pipes) and arka Q stopped pipes). Transcription o f chúkaru-baile (in the middle register o f the liku pair).

As already m entioned, a julajula ensemble is composed of several pairs of diverse octave registers (see Figure 6). The individual melodies sound simul­ taneously in parallel octaves, divided over four to five registers. The pan flute pairs are tuned identically to each other in their respective octave ranges. Ac­ cording to the A ndean principle, they are conceptualized as equivalent pairs (ira and arka) on the horizontal level. In their vertical order, the pairs are ar­ ranged hierarchically, according to which the biggest panpipe pair (the iraarka pair machu, which is as long as 1.2 meters) is blown by the two eldest and m ost respected musicians. The next biggest pair, which is half as long and called m ali (or mallta), is played by the next oldest musicians, and so on; the smallest pair (ch’ili) is played by the youngest and therefore least experi­ enced players. The hierarchical order of pairs is arranged beginning with the “o ld ,” “honorable” pair of machu, to the “m iddle-big” pair of mali, the “th ird ” pair liku, the “delicate” pair of tjili and the “little” pair ch’ili (Bau­ m ann 1980:158ff.; 1990:276f.):

34

Max Peter Baumann

ch 'ili

O

i

v v o

T T 7A y -

=■

•

■... "o

mali

o

machu

Fig. 6. Ensembles o/julajula panpipe pairs and their different registers (each with an interval o f one octave)—from deepest (or biggest) to highest (or smallest) pair: machu (ira-arka), mali (ira-arka), liku (ira-arka), tijli (ira-arka), ch’ili (ira-arka). A n ensemble with 16 musi­ cians is represented as an example here (that is, 8 pairs o f instruments), in which the liku pair is doubled and the tijli pair is tripled.*

5.2 Sikus: The ira-arka Principle o f Double-Row Panpipes The same ira-arka relationship also appears among the double-row p a n ­ pipes. The general terms for most double-row panpipe instrum ents are siku, antara or lakita. Among these are included various types, each of which has a different num ber of double-row pipes. The individual instrum ents have, as a rule, a row of stopped pipes of differing lengths, in front of which is tied a second row of evenly sized, open-ended pipes. The most often used sikus (or

Andean Music, Symbolic Dualism and Cosmology

35

lakitas) consist of a pair whose ira instrum ent has 7 stopped and 7 open-end­ ed pipes (7+7) and whose complementary arka part consists of 6 stopped and 6 open pipes (6+6). The stopped melody pipes of ira and arka com ­ plem ent each other in the tuning of a “diatonic scale” with a range of 13 tones (Figure 7). This scale is sounded using the hocket technique and oc­ curs mostly in two different pair sizes, for example in a small ensemble of two larger liku pairs together with a ch’ili pair that is half as big. T he siku panpipes are in this case accom panied by a large drum (wankara) and a small drum (wankarita). T he thought structure of complem entary pair form ation is also discernable in the siku ensembles. Each of the individual double-row panpipe instru­ ments, the ira as well as the arka, are further divided into two polar parts (Figure 8). These are the stopped pipes (qharis) of the melody row (tukanan), which are understood as the masculine element, and the open pipes (chinas) of the second row (kacharisqa), which provide the “breathy so und” and are considered the feminine element. Each individual open and stopped pipe of the same length forms a (conceptually) bou n d pair (qhari-china). A ddition­ ally, each of these pairs has a special relationship to the qhari-china pair of the other panpipe instrum ent.

36

Max Peter Baumann

Playing scale:

Fig. 7. Example o f a double-row siku pair: ira (7+7) and arka (6+6), with a correspondingly complementary distribution o f single tones. Pair

arka Pair

Pair

(7 + 7 )

china

qhari

(6 + 6)

china

Fig. 8. Double-row ira instrument (7+7) and arka instrument (6+6) and corresponding sub­ division in 7 or 6 pipe pairs, each made up o f one masculine (stopped) and one fem inine (open) pipe (qhari-china). Comp, also Figure 7.9

Andean Music, Symbolic Dualism and Cosmology

37

5.3 Lakitas: The ira-arka Principle o f the “Chosen Ones” The same ira-arka principle which underlies the sikus similarly affects the lakita ensemble. The lakitas are double-row panpipes of (8+8) and (7+7). Ba­ sically, the second equal row of pipes serves only for resonance. The pipes of this row are cut off at an angle at the bottom , and thus sound softly as open pipes and an octave higher than the stopped melodic pipes. The individual

ira (8 + 8) liku arka (7 + 7)

ira

(8)

ch'ili ———^ arka (7) ira liku ____ / (3 paire)

parallel octaves

c + (1+ 7)

ira sanja jd (2 pairs) ITS)

(8 + 8)

(8 + 8)

1 \

arka (7 + 7)

Fig. 9. Pair o f double row lakita panpipes (Ira; 8+8 and arka; 1+7), tuning and three octave registers (ch’ili, liku, sanja).

Max Peter Baumann

38

tones are divided between arka and ira in intervals of major and m inor thirds (Figure 9). The pairs ch’ili, liku and sanja are tuned an octave apart and are played in the same hocket technique as the other panpipe ensembles, accom ­ panied by four ivankara drums. According to informants, the stopped pipes are nam ed in Q uechua tokanan (playing the melody), tapasqa (stopped) or qhari (man). The open pipes have different names in different languages: in Aymara, phallkja (fork) or q ’asa (notch/nick), in Q uechua, kacharisqa or china (little women), and compañía in Spanish. Again, conceptualization in terms of a com plementary pair of opposite parts is expressed through these terms. The lakitas (“the chosen ones”) are played during the dry season as is usu­ ally the case with most panpipes. The lakita dancers express the ritual purifi­ cation and preparation of the land before the sowing begins, thereby entreat­ ing Pacham am a to grant a good harvest. The musicians dance around the Mallkus and T ’allas (male and female heads of the communities). Two pairs of wom en dancers dance around the musicians, spinning llama wool by hand into a ball of yarn with a small wheel (k ’apu/rueda).

= arka

100

Lakitas (likus) ^

4 wankaras

(cfVf,

2.

c

—

1

dacapo

ipr p p p-i m r ■f r r r r r r r r r 'f r r r r r r r h

3 times (A A B 'B ’ C C )

Mus. Ex. 2. Lakitas: musical transcription o f the hocket technique o f the middle register liku pair. (Llauro Llokolloko, Department o f La Paz)

Andean Music, Symbolic Dualism and Cosmology

39

5.4 Sikuris: The H ocket Technique o f the Sun Dancers O ne can easily discern from the sikuri panpipes how the dualistic arka-ira principle similarly functions. The sikuris, also called sikuras or simply sikus, belong to the large type of double-row panpipes (Figure 10). The individual instrum ents have, as a rule, 17 stopped melodic pipes, which are b o und to ­ gether in raft form. A second row of open pipes of the same num ber and -20

-20

(? )

-10 -10

+10 +10

g I*

-10

-10

♦10

-20

+20 +20 ♦ 10 *20

+30 +20

+20 +20

+30 +30

-10

+15

-10

„

irrrrm T T T n T m n

ch'ili (17 + 17) arkahra

tarke (17 + 17) arkaJira

liku (17 + 17)

Fig. 10. Sikura panpipe (Ira or arka with the same tuning) and registers o f ch’ili, tarke and liku.

Max Peter Baumann

40

lengths is bound in front of the first row. Although the pipes are “tu n e d ” in diatonic intervals, the scale is not used in this quasi-major way; most of the tunes are pentatonically oriented. Among the sikuris, both counterparts of the arka-ira pair have the same tuning and construction, this in sharp con­ trast to the other panpipe ensembles. T he equal pairs play their melody in three different registers, that is, the ch’ili pair and the liku pair sound in parallel octaves, and between them the tarke pair plays a parallel fourth below ch’ili, w hat means at the same time a parallel fifth higher than the liku pair (Figure 10).

J) =161(374T

sikuris (likus)

P LT

l__1 7 jí (Í 7

k

p LT

U'

□'

p u tu tu p u iú íu ]

rrtr u tr tru t m 7

1

l-b

dal tig n o

i ' ß ' , ' j i 7* Y ” ^

^

P P

b7 hKi 7 K

P

7

í

Í F

Y

Í Í

I

fa-T— = — i ■■■■■ ' V' y

l YYY

v YÇ 7 p 7 p

1

1

^

3

7 p p p

1

Andean Music, Symbolic Dualism and Cosmology

41 p u íú lu

1

X

X

X

T

r*

p u tú iu

.161

^ r^ r ^ r p u íú lu

....

1

7

7

---

p u íú lu

Mus. Ex. 3. Sikuris (wayno) from Chilca Grande (Tapacari, Department o f Cochabamba): musical transcription o f the liku pair and drums.

Ira and arka play not in a real hocket-like technique, but rather in an alter­ nating technique (Musical Exam ple 3), so that arka always echoes the same note played by the leading ira.

42

Max Peter Baumann

awicha (spinning yam)

(evil spirit)

achachi kulyaqa(wawa)

umajala (death) 2 warmiwaillis

sikuri player P™*

9

sikuri + wankara player awicha: spirit of the arable land, old woman, mother of the child, mother of potatoes (man in woman’s clothing)

c f

achachi: old man, who plows the field, spirit of the moun­ tain

ÇÇ

warmiwaillis (women dancers)

o

wawa (child)

Fig. 11. Sikuris: dance circle with Achachi and Awicha (Tapacari).

The panpipe players, who accompany themselves with four caja drums, dance in a circle (Figure 11) around three dancers. These represent an old man achachi (abuelo), his small child (kulyaqa/wawa de los abuelos, child of the ancestors), and the umajala (lit., “naked head,” perhaps symbolizing death), w ho rings a llama bell (campanilla). O utside of the circle is an old woman, called awicha or abuela, who is the m other of the child and repre­

Andean Music, Symbolic Dualism and Cosmology

43

sents the spirit of the arable land. She is played by a man in w om an’s clothing, who Spins yarn with a spindle and is pursued by an evil spirit (supay) wearing a “devil’s” mask and carrying a cow horn (pututu). The awicha is anxious to prevent any mishap to the child and thus leads the evil spirit astray. W ithin the safe area of the sikuri circle, there are also two w om ­ en dancers (warmiwaillis). T he Achachi adopts the symbolic role of the “old m an” (ancestor) who plows the field, and the Awicha symbolizes his woman who sows; both are constantly surrounded by danger. Achachi represents the male spirit of the m ountain, Awicha that of the female arable land. Awicha is at the same time the m other of the potatoes. In addition, some dancers dance next to the threatening death, the Umajala, wearing a stuffed female vicuña on their som ­ breros and also a (male) condor (kuntur). The dance re-actualizises in a sym­ bolic way the past world of the ancestors and enforces at the same time the present through the commemorating of the fundam ental forces. In binding together the past with the present through ritual, offering and symbolic per­ form ance, and in the re-enactm ent of the past through the present actualiza­ tion, the future will be guaranteed. M ost circle dances of panpipe ensembles are related to the dry season of the agricultural calender and represent the giving of thanks for the past har­ vest as well as a petition for the next season. They are directed to Pacha­ mama (Wirjin) and Pachatata or to the female and male spirits of the ances­ tors (Awicha and Achachi). 6. Tinku: Festival o f E ncounter The Bolivian Indians of Arampampa, a small village in the north of the D e­ partm ent of Potosí, celebrate the Feast of M ary’s Ascension, the Fiesta de M ama Asunta (or Virgen de Asunción), each year on the 15th of August and during the following w eek10. Christian folk piety is syncretized with the tradi­ tional belief system of the Andean world to becom e a colorful religious cult which presents in its essentials the fundam ental features of the Andean con­ cept of symbolic dualism. This festival will be described here as a paradigm for panpipe playing in the context of ritual. The Indians set out on a pilgrimage to this festival from the surrounding farming setdem ents and from the highlands, making trips of two or three days on foot to Arampampa. From all directions, from above (that is, from the altiplano, or puna) and from below (out of the valleys, or valles), the groups flow together and meet in the small village of Arampampa, which is normally hom e to about 500 people and, as a form er Spanish settlement, contains a church. This church is for the rest of the year abandoned but re­ ceives the visit of a priest during the week of its protective patroness, the Vir­ gen de Asunta. O nce a year he reads masses and holds weddings and chris­ tenings.

44

Max Peter Baumann

The Indians announce themselves from the heights with blasts of dynamite and move into the village playing music. First the pack mules trot in, carrying on their backs the things most essential for survival and urged on by the old­ est Indio, the tata mayor, followed by a dancing pair and finally by men play­ ing the panpipes. The Indios come from four regions of the altiplano (aransaya) at different times with julajula panpipe ensembles (cf. Section 5.1). O ne after the other, four m ore groups reach Aram pam pa from four other villages in the valleys, nearby in the lower surrounding area (urinsaya), each leading a siku ensemble with it. It is always the same ritual. The siku ensembles play while walking around the church plaza (cf. Section 5.2.). The musicians dance around the plaza in a counterclockwise direction and from one corner to another, along with the women and m en who follow them, dancing in stamping huayño steps. Each siku group brings along a large cross, the one a Tata M arcabi, another the Tata Sank’ani or Tata Quillakas, another a big stone upon which a cross is drawn. After the dancing around the church plaza, each individual group goes into the church, where the cross is placed next to the statue of the Virgen de Asunta. The upper point of the large w ooden cross is (as the head) decorated with a som brero or a helmet. Over the arms of each cross hangs a poncho that is bound to the cross with a lasso or a whip. Clearly, the masculine insignia suggest here Pachatata as the father of agri­ culture (with som brero and lasso) and Pachatata as father of war (with tinku leather helm et and whip) (Figure 12). In a symbolic as well as a real sense, the Tata Kruz and Mama Asunta are brought together at the Feast of E n ­ counter. T he fundam ental principles remain Pachamama and Pachatata (or

Fig. 12. Tata Marcabi (with sombrero) and Tata Sank’ani with montera (helmet).

Andean Music, Symbolic Dualism and Cosmology

45

Mallku or Apu), though also mixed in part with Christian elements. O ne meets at a central place of action, coming from every direction. H ere, in the center of above and below, in exchange between the ayllus, between village and land, betw een social and ritual encounter, the new power is obtained in thanks for the past and to solicit for the future. This can only succeed if the polar forces come together and interact. In this “time outside of tim e,” A ram pam pa becomes symbolic, on a small scale, for the navel of the world, just as Cuzco was once on a large scale the center of the Inca empire (tawantinsuyu). H ere as well, the state of everything being bound together is reflec­ ted, in the large as well as in the small, and vice versa. U pon their arrival in Arampampa, the Indios coming from aransaya (above) and the julajula players walk to the church plaza in their own m an­ ner. In a serpentine, zig-zag movement (linku linku rayku), the musicians m arch one after the other onto the plaza (Plaza T ’alla, t ’alla meaning “w om ­ an ”) and take possession of it through their dance. To the sounds of the “wild dance” (chúkaru-baile), they dance with stamping steps first to the “u p ­ per half” (also aransaya) of the plaza. The serpentine formations of the danc­ ers then change into a circle dance, which begins in a counterclockwise di­ rection. W om en dance along, next to the julajula machus, making their color­ ful flags (whipalas) flap in figure-eight patterns. The circle of panpipe play­ ers, dancing one after the other, closes and revolves several times. Then the oldest ira panpipe player (with the julajula machu) begins an about face, leading the players outw ard and in a clockwise direction. The circle moves in this new direction. After a while, everyone comes to a halt and directs their eyes to the middle of the circle, where the group leader, the Tata Mayor, stands. H e holds a whip in his hand and keeps an eye on all musicians and dancers, ensuring that everyone keeps in line. After halting, the musicians continue to play until all panpipe players, starting again from the beginning, dance one after the other in counterclockwise direction. This is repeated once more, this time with the oldest arka player (julajula machu) leading the change in direction. H e breaks the circle so that he, as the second leader of the line, leads the circle once more in a clockwise direction, but tow ards the inside of the previous circle. This is followed as earlier with the dancers com ­ ing to a halt, concentrating on the middle of the circle, and then continuing to dance one after the other in counterclockwise direction. From then, the circle changes again into a winding movement, which brings the musicians diagonally across to the other half of the plaza (urinsaya), where everything is repeated symmetrically (Figure 13). At the end the players move tow ards the church tower (Torre M allku) in a line formation. The musicians kneel in front of the entrance to the church, playing a gentle panpipe melody (a copla or plegaria), in order to appeal to Mama Asunta or Pachamama for forgive­ ness for the upcom ing highpoint of the festival, the bloody tinku fight. At the tinku all groups, from the ayllus from above to the ayllus from below, will fight each other with all their strength.

46

Max Peter Baumann

Urmsaya

Aransaya

eskina

eskina

eskina

eskina

1.

Serpentine line dance, one column (linku linku rayku)

2.

0

Circle dance in counterclockwise direction (ira direction)

3.

0

Circle dance that opens to the outside (arka movement)

r '« 4.

Circle dance in clockwise direction (arka direction)

5.

O

Standing still while looking towards center

6.

0

Circle dance in counterclockwise direction (ira direction)

7. 8. 9.

o o o

Circle dance that opens to the inside (arka movement) Circle dance in clockwise direction (arka direction) Standing still while looking towards center

Fig. 13. Julajula dance procedure— “wild dance” (chúkaru-baile).

Andean Music, Symbolic Dualism and Cosmology

47

The dances are repeated in this m anner over several days. Individual masses and processions are also held. The groups are given accommodations by acquaintances living in the surrounding area (amistad). Each group de­ frays the cost of their room and board with a sponsoring pasante, preste or alférez and ensures that a procession is carried out in connection with the read mass. After a first stop close to the front of the church (as the central point of the four directions), the procession moves to the first corner of the plaza in counterclockwise direction, amidst the sound of panpipes. At this corner, as well as the other three following corners (eskinas), a simple or sometimes decorated offering table is set up as an altar (altar). The statue of Mary and the w ooden cross that has been brought along are each set down here for a short stop. The priest says a prayer, noisemakers are set off and the music begins again, setting off the continuation of the procession, until the next corner is reached. D uring the night from the 18th to the 19th of August a cabildo (kawildo), or gathering, is held at the nightly fire. Fires are set on each half of the church plaza, diagonally across each other. The various groups of aransaya and urinsaya each gather around a fire to music, conversation, dance and the drinking of corn beer. Offerings of smoke and drink are made in honor of Pacham am a, to Mallkus and to the saints of the four directions. The first (Christian) high point takes place on the octava, that is the eighth day after M ary’s ascension. This begins with a mass held with all groups and a proces­ sion afterwards. T h zjulajula ensembles and the siku ensembles form the p ro ­ cessional music. The julajulas play the tonada of their “wild dance,” the sikus play their wayñu. In the heat of competition, they try to outdo each other musically. This time the statues of the Virgen de Asunta and San Isidro are brought out of the church. Isador is the saint of the peasants and is rep ­ resented w ith an oxen yoke and plow. At each altar in the four corners, a halt is called with the tower bell in order to present a smoke offering (q’oa). O n top of the small corner altars, which are decorated with w ooden arches, grains, corn, bean seeds, and perhaps even a chicken. W hat might be inter­ preted as a thanksgiving offering in terms of Christianity is for the carnpesino an offering to M amita Asunta and Tata Isidro (or sometimes to Pachamama and Tata Kruz), praying for a successful harvest. The life-giving pair is ho n ­ ored in a symbolic way. This is also the time when several pairs celebrate their marriage. The second (ritual-traditional) high point of the festival begins directly fol­ lowing the general procession. The tinku— the free-for-all— begins, setting up opposing parties in a battle against each other. This is a fight between the different ayllus (village societies), or sayas. In the confrontation of groups, peasants wearing leather helmets and arm or attack each other, hitting and pushing each other with metal knuckle rings and leather gloves (ñuk'us), tug­ ging and pushing with hands and feet until blood begins to flow, spurred on by the previous music of the chúkaru-baile, encouraged by alcoholic drink

48

Max Peter Baumann

and driven by the shrieking cries of the women. W hen not kept under con­ trol by lookouts, the battles can claim a high toll in blood, sometimes even in dead. It is said that a tinku w ithout a death brings an unfortunate year (Bau­ m ann 1982a:2f.). It appears that an old blood offering lies at the basis of this annual custom. In addition to its relation to the ideas of initiation and fertil­ ity from the time of the Incas, the tinku also consolidates the political struc­ ture and strengthens the rights of one saya in relation to the others and in re­ lation to land and kinship ties11. Tinku signals the territorial boundaries as well as the boundaries of power that are form ed between two groups belong­ ing together. The tinku simultaneously divides and binds both halves, setting free energy and creating also a balance in the changing relationship. The w ord tinku derives from the verb tinkuy, which means “to pair,” “to create balance,” “to accomm odate two equal halves which are set up opposite each o th er,” “the dynamic bringing together of masculine and feminine princi­ ples” (van Kessel 1982:286; Randall 1982:54). Tinku is the place in space and time w here two opposite powers meet, where two concepts exist or mix with each other (Harrison 1989:103). It is the place and time of transition, where the ira and arka principles set free their power in dynamic interplay, w hether this is in a binding (productive) or in a separative (destructive) sense. The goal of these efforts is dynamic balance, the creative collaboration of bal­ anced opposites. The ritualization of dual forms on all levels of thinking and acting produces the symmetrical m atch in yanantin, in the experienceable identification of two elements as parts of the whole (Platt 1976:27), or as the campesinos say: “Even the worm in the earth has his yana, and even a thread consists of two strands...” (Müller & M üller 1984:164). T he actual meeting reproduces the symbolic dualism of the female and male principle in the following levels and ways: in space— moities: aransaya/urinasaya (four directions: two by two; dance figures on both sides of the plaza), (2) in time— during the dry season: the melody is related to a particular fiesta (3) in the transcendental world: Pacham am a/Pachatata; Santísima/Santísi­ mo; M ama A sunta/Tata Kruz (musical ritual as appeal for fertility) (4) in the hum an world: the men (qhari) are the musicians, the women (warmi) are the dancers with the flags (whipalas); panpipe players (arka/ira) (5) in nature: bam boo instrum ents (wind/dryness); w ooden instrum ents (rainy season), (6) in the order of social hierarchy: ira/arka\ machu, mali, liku, tijli, ch’ili, and (7) in the musical form: AA and BB and the combination of A and B in the reproduction {tinku!encuentro in C)

(1)

Andean Music, Symbolic Dualism and Cosmology

49

7. Panpipe R ep resen ta tio n s in P re-C olum bian T im es Ethnohistoric data, such as that provided by early Spanish chroniclers, can enable us to better understand actual field research data, and vice versa. Thus, with the knowledge of contem porary ethnographic data, the writings of Garcilaso de la Vega (1539-1616) concerning panpipes can certainly be interpreted as one of the earliest descriptions of the hocket techniques d e­ scribed above: De Música alcanzaron algunas consecuencias [consonancias?], las cuales tenían los indios Collas, o de su distrito, en unos instrumentos hechos de cañutos de caña, cuatro o cinco cañutos atados a la par; cada cañuto tenía un punto más alto que el otro, a manera de órganos. Estos cañotos atados eran cuatro, diferentes unos de ortros. Uno de ellos andaba en puntos bajos y otro en más altos y otro en más y más, como las cua­ tro voces naturales: tiple, tenor, contralto y contrabajo. Cuando un indio tocaba un cañuto, respondía el otro en consonancia de quinta o de otra cualquiera, y luego el otro en otra consonancia y el otro en otra, unas veces subiendo a los puntos altos y otras bajando a los bajos siempre en compás. No supieron echar glosa con puntos disminui­ dos; todas eran enteros de un compás (Garcilaso [1609] 1976:113). [Each instrument consisted of]...four or five double pipes of cane. These were bound together so that the pitch of each pipe would successively rise a degree above its neigh­ bor, after the manner of organs....Their way of playing was this. One member of the quartet would start by blowing a note. Then another player would blow a pipe sound­ ing at the distance of a fifth or any other desired consonance above or below the first note. Next, still another player would blow his note, again at any desired consonantal distance. Finally, the fourth played his note. By keeping up this sort of thing they ranged from lowest to highest notes at will, but always in strict time. They did not know how to vary their melodies with small-value notes but always stuck with whole notes (Garcilaso 1609: fols 52v-53 recte, 51v-52; translated in Stevenson 1968:277).

In addition, we find early representations of playing in pairs in figurines or relief paintings on vessels and in drawings on ceramic pieces. Interestingly, num erous archeological findings, vessels, relief representations and illustra­ tions from the pre-Inca times already show this symbolic dualism, such as o b ­ jects from the Chavin and M oche cultures, among others (Kutscher 1950:31; d ’H arco u rt & d ’H arcourt 1925:98). Paired panpipes made of ceramic have also been found by archeologists in Nazca. The probability that they were played according to the hocket principle of ira-arka is shown in the fact that panpipes are also represented in pairs on ceramic vessels and illustrations. O ften the ira and arka instrum ents are even tied together with a string. The practice of tying two instrum ents together with string seems to have been usual up to recent times (Vargas 1928 1:8; Valencia Chacon 1989:33, 35). The following illustrations (Figures 14-17) have been selected to show how the ira-arka principle was in all likelihood quite w idespread in relation to A n­ dean panpipe playing and to all appearances is older than the Inca tradition.

Andean Music, Symbolic Dualism and Cosmology

51

Fig. 15. Musicians with panpipe pairs Cira 5; arka 5) and ceramic trumpet (pututu). From Kutscher 1950:30.

Fig. 16. Ceramic vessel with two panpipe players f a r k a : 6 and ira: 7). Moche culture, north­ ern Peru, 400-600 A.D., Staatliche Museen, Preußischer Kulturbesitz, Museum fü r Völker­ kunde, Abtl. Altamerikanische Archaeologie, VA 17 625 (Photo: Waltraut SchneiderSchütz).

52

Max Peter Baumann

Fig. 17. Panpipe players. R elief picture on a vessel from Moche Art, Northern Peru, 400-600 A.D. Clay/Ceramic. Staatliche Museen, Preußischer Kulturbesitz, Museum fü r Völkerkunde, Abtlg. Altamerikanische Archäologie VA 17 881, Berlin (Photo: Waltraut Schneider-Schütz)

Based on this general information, we can set up the following hypotheses concerning pre-colonial panpipe ensembles: (1) (2) (3) (4)

(5)

(6)

Panpipes of clay and bam boo have been well known since pre-Inca times. They have played an im portant role in ritual life and were often buried with mummies or associated with ancestors, skeletons and death. D ouble-row panpipes made of bam boo are also pre-colonial. Early artistic representations of panpipe players in pairs, as well as the discovery of early paired instruments, suggest the use of the hocket technique. Individual panpipe instrum ents had from two to twelve pipes, with oddor even-num bered pairs of pipes or com pound pairs of odd and even num bered pipes. Playing in octaves and parallel fifths was already known in pre-Inca times.

Andean Music, Symbolic Dualism and Cosmology

53

8. S ym b olic D ualism , C o m p lem en ta rity and C osm ovision The concept of the arka-ira principle fits into the anthropom orphic world view of pre-colonial Andean cultures, based on the concept of dualism and quartipartition. According to this cosmology, everything consists of two com ­ plem entary parts, with the hum an body used as a m etaphor. The right and left sides are associated respectively with the male and female principles. These are divided again into two different and opposite moieties: the head above is associated with birth, the feet below are associated with death. Eve­ rything in existence has an element of life and an element of death that in­ terlock with one another; the proportion of one element to the other changes in the course of living. “In the Andes almost everything is understood in jux­ taposition to its opposite” (Duviols 1974) or, as Bastien (1978:104) states: Lineages, for example, are distinguished between the man’s and the woman’s kin group; siblings are classified into youngest and oldest; and communities have upper and lower sections. Ritualists always serve two plates to each earth shrine. For example, if a shrine is male, then a plate is also set for its female companion. Shrines are usually served in pairs, such as young and old, mountain and lake, and helper and owner. Ritual teaches Andeans the complementary between contrasting pairs...

Bastien’s investigation further describes how the macrocosm of the A nde­ an m ountains is symbolically reflected in the microcosm of the hum an body and vice versa. This symbolic dualism is also a metaphorical expression for the local society, the individual and the life cycle, i.e., all being is m arked by the interchanging powers of symbolic dualism. The dualistic principle is related to men and women, to society, to nature, animal and plants in this hum an world (kay pacha), to the transcendent di­ m ension above (janan pacha), as well as to the interior w orld below (ukhu pacha or ura parti-, cf. Platt 1976:23). In the middle dimension where hum an beings exist, music and musical instrum ents have their determ ined function, as both a part and a manifestation of this cosmological order. The symbolic duality of arka and ira reflects an overall underlying structure which expres­ ses the unity of its opposite poles. In addition, the principle of double dualism of time and space is also relat­ ed to the hierarchical order of the life cycle. The principle of complement and opposition, uniting and dividing the halves at the same instant, offers a four-fold asymmetrical equilibrium. As in a year, with its dry and rainy sea­ sons, each part has its growing and dying half. In general, the male authority is occupied with organization, the female authority with production. Both elements together provide the security for reproduction in time and space, in the natural and the social order, and in the music itself. During festivals, the bringing together of opposite elements is always the fundam ental part of the ritual, which functions as the inter­ mediation betw een the ira and arka opposites.

54

Max Peter Baumann

To sum up, the uniting concept of ira and arka is based upon a symbolic dualism and its further division into quarters. Everything is tightly bound up with the anthropom orphic world view of the Andean cultures. According to this cosmology, everything that exists develops out of its two complementary opposites. Everything is originally rooted in a physical m etaphor of the indi­ vidual, of the pair and of the interrelationships that are themselves derived, in pairs, from the original pair. The feminine and masculine elements are each opposite pow er poles complementing each other and belonging to ­ gether like death and life. All that exists shows both characteristics as aspects of a unit that belongs together. The acts of becoming and persisting in con­ tinuity define themselves through energetic tension and in the creative inter­ change of two basic polar energies. The proportion of one in relation to the other changes in the course of existence. “In the Andes one can understand almost everything as the collaboration of its opposites” (Duviols 1974). In addition, Bastien’s research describes how the macrocosm of the Andean m ountain chain is reflected symbolically in the microcosm of the hum an body, and vice versa. Symbolic dualism is a m etaphorical way of thinking that interprets the reality of the individual, of the society, of the life cycles, of the entire universe on the basis of two opposite powers which nonetheless belong together. [In the Andes and elsewhere]...ethnographers should look deeper than the empirical realities of behavior and kinship; they should include the symbolic patterns by which people understand themselves and their society. It is by becoming engaged with Andeans in their way of life that one can see beneath their surface violence to the symbolic system of the ‘real life.’ The Andean symbolic system is not the explanatory model of the anthropologist but the people’s own metaphors of society. It is an analogous proc­ ess by which a people understand themselves in terms of their land. Furthermore, violence is merely a symbol of tension within the metaphor, when the people and their land are not analogous. Ritual provides the occasion when people and land look to ­ gether at each other (Bastien 1978:197).

In H uayñopasto G rande, in w hat is today the departm ent of O ruro, the Indios play the sikuris panpipes during the dry season. These are double-row panpipes, each with 17 stopped and 17 open pipes (17+17). A lthough the masculine and feminine instrum ents are identical, they are described as ira and arka and are also played using the hocket technique. In my presence, the musicians once laid out the instrum ents on the ground in the form of a h u ­ man being after they finished playing. The meaning of the pair as the em ­ bodim ent of the individual, referring to the entire body of the ensemble, is il­ lustrated here in a convincing way, just as the sum of the parts always is relat­ ed to the whole of reality (Figure 18). The physical m etaphor of the sikuri instrum ents makes it clear how every­ thing can be understood as an expression of halves that belong together. The upper p art of the body and the lower part of the body— including the center of the heart (sonqo)— frame the middle of the being. The heart, as the seat of

Andean Music, Symbolic Dualism and Cosmology

a

55

...

Fig. 18. Sikuri panpipe ensemble in the form o f a body, laid out by Indios from Cantón Sepulturas, Province Cercado de Huayñopasto Grande, Department o f Oruro (Bolivia): 13 sikuris (each 7+7), made up o f 10 liku and 3 tarka instruments, in addition to 1 cowhorn (pututu) and 7 drumsticks (wajtanas) o f the 7 great drums (wankaras), to which they belong.

life and blood, is surrounded by the two times two sikuri pairs, which 1) in horizontal separation shows the male heaven as arches above and the female earth as arches below and 2) in vertical separation, marks the two halves of (male) right side and of (female) left side (cuatropartición). At the same time, the num ber four symbolizes the four directions of the wind. Analogous to the four directions of the old Inca empire (tawantinsuyu) , the m etaphorical unity is represented, which here means the heart as center, Cuzco, once “the navel of the w orld.” The right side of the sikuri s physical representation is additionally m arked through the blue color of the drumsticks as the heavenly light, in contrast to the dark, red color of the left side (earth). The horizontal­ ly laid drum stick symbolizes the (female) breast and stands in opposition to the (male) sex organ of the pututu horns. The whole entity can also be u n ­ derstood in this sense as a (“p aired”) hum an being, which means in a m eta­ phorical sense the godlike principle of W iraqucha, as it is represented in its original form as the double aspect of ira and arka.

56

Max Peter Baumann

According to Rodolfo Kusch (1986:34), W iraqucha is that first principle which convincingly conveys the creation. W ith reference to the hymn of Santacruz Pachacuti Yamqui, Kusch interprets the creation principle of W iraqucha as a holy source which came from the mountains (wilka ulka apu). Kusch explains the com bined concept of orcaraca, with which Yamqui paraphrases the creation principle, as urqo rhaka or ulla rakha, as phallusvulva, which is expressed in an analogous way to the “linga-yoni” principle of tantrism. Jorge M iranda-Luizaga (1985:198, 210) interprets W iraqucha (or Pachakham ak) as symbolically close to the Chinese yin and yang, as an inner relationship of two polar, basic powers, or as “the single light with the power impulse of duality”12. W iraqucha or Pachacamac were represented pictorally by Santacruz Pachacuti Yamqui through the Unachan symbol (Figure 19), a cosmic-oval egg topped by a cross of stars. 44

* Fig. 19. Dual Wiraqucha symbol (oval and cross): Unanchan (from unanchay: to decide, to foresee, to foretell the future, to proclaim prophetically). From Santacruz Pachacuti Yamqui (around 1613)."

T he dual principle can be found in a similar concept in the ruined city of M achu Picchu, where the Mallku as “condor and master of the m ountains” fertilizes the opened egg of Pachamam a (Figure 20).

Fig. 20. Mallku/Pachamama: sacred sacrificial stone in Machu Picchu.

Andean Music, Symbolic Dualism and Cosmology

57

W hen one surveys the visual bases of symbolic dualism as the structure of “A ndean” thinking in reference to the Fiesta de Mama Asunta and to the other facts mentioned, the principle of ira and arka can be summarized on all levels of reality as a model with the following connotations: ira principle (the leader)

arka principle (the follower)

-

-

-

right side, front sun (inti), dry season east, light, day m ountains, cold regions (chirirana) , above (aransaya), land of man (jatun ayllu) counterclockwise direction birth of the sun, upwards direction, awakening organization, cleansing plowing to begin, dom inent, leading larger, male qhari, Pachatata, Tata Krus Santisimu, Achachi condor, Mallku, Torre Mallku corn bam boo, panpipe (siku), notched flute (kena) circle dance that opens outw ard

-

left side, back m oon (killa), rainy season west, darkness, night plains, valleys, m oderate region (patarana), below (urinsaya), land of woman (masi ayllu) clockwise direction death of the sun, downwards direction, dying production, planting sowing to follow, subdom inent, to end smaller, female warmi, Pachamama, W irjin Santísima, Awicha puma, Plaza T ’alla potatoes wood, duct flutes (pinkillo, tarka)

- circle dance that opens inward

In addition, all aspects of complementariness can be interpreted in terms of their interplay with each other. They refer to space and time as well as to the hierarchical order of the whole cosmos, to nature and to hum ans and their society. In general, the male principle is concerned with organization, the female with production. But only when both elements are integrated, when they balance each other in a cooperative exchange, is a constant repro­ duction through space and time ensured. In the cycle of the year, in the cy­ cles of life, in the course of tradition, in ritual and in music, in the small as well as the large, creation is repeated continuously as a space-time construc­ tion: as the creative interplay and continuous coming together of com ple­ mentary opposites, i.e., the tinku of ira and arka.u Santacruz Pachacuti Yamqui showed around 1613 this dual form from his cosmological view of the Inca interpretation of the world. O ne can read the dual basic structure from the illustrations with which he illustrated the inner rooms of the sun temple of Cuzco, Q orikancha (Figure 21). According to the

Max Peter Baumann

58

reports of the chroniclers, a giant golden and oval “sun” was supposed to have stood in the westernmost corner of the temple, decorated with emeralds and other precious stones. O n the ceiling of the temple, sparkling cristais symbolized the firm am ent with its m ost im portant stars. In the m orning the rising sun was reflected in the oval “sun,” during the night, the bright light of the moon. The illustration represents the complementary One-Being in W iraqucha’s great golden oval of dynamic balance. W iraqucha subsumes the wholeness of all com plem entary opposites and the unification of all time and space polar­ ities. W iraqucha represents the absolute dynamic balance between above and below, right and left, between outside and inside, male and female, between light and darkness, time and space, spirit and material. Everything emanages I I I I tinku (dynamic equilibrium)

1

^

kay pacha ('this world')

ukhu pacha ('w orld below')

I Fig. 21. Cosmological concept in the temple o f Coricancha (Cuzco) according to Santacruz Pachacuti Yamqui (about 1613). Cf. Urton (1981:203).

Andean Music, Symbolic Dualism and Cosmology

59

from the totality of this dynamic basic principle (tinku), and everthing di­ vides itself (pallqa) in its dual form of masculine ira principle and feminine arka principle (cp. Earls & Silverblatt 1976:312). Ira and arka are parts of a system that cannot be com prehended if one only describes its individual parts. In the interaction of both energy poles, something new is created on the next lower order and this strenghtens at the same time the double aspect of reality in its higher order (Figure 22).

w i^ a q o c h a

(wivfgse C lE ATlO U

IS YH TH & H .

Sun

s

m.e/FenAus AHACEtt

'-

« M T AIUNBteglSrS

vtwus AS

v

v

naum staã.^

* EVeUlNÍ i SVAK

W l M N OfAteNTS

Suchu Oviades) * clouds

..

TAZEUTS

imú

Pacha Ceahth)

s,

(kATeR.)

I

(social) Cólica

u 1Ta.RAC£D riELDAbRicuaufcl

pata -r

PU oDu c T i o /j i L S L A T lo A J S H lP i AMD

FRopucr/o/o fen ces

Fig. 22. Circulation o/ira-arka energies in the universe according to Pachacuti Yamqui (cf. Figure 21). Stylized interpretation according to Earls and Silverblatt (1978:320, Figure 7).

60

Max Peter Baumann

W iraqucha brings forth as the first heavenly double aspect the sun and the moon: the anthropom orphic great-grandparents (bis-abuelos) of humanity. They produce in their interaction on the next lower order their two children, the pair of sisters as m orning and evening stars, that is, the grandparents (abuelos) of humanity. Together with the stars that in turn sprout out from them , they metaphorically describe the “world above,” which is set off from the “w orld below ” and remains symbolically divided through the snake amaru, which is both dividing and connecting. This snake is the between-region of fulguration, which puts the heavens in touch with the earth and which creates a creative exchange of opposite energies through the means of rain and rainbows, frost and fog, lightning and hail. O n the “world below ,” earth (kamaq pacha) and water (mama qocha) are distinguished from each other as polar fundam ental elements. The earth as a whole divides itself again into its double aspects of masculine mountains (kamaq pacha) and feminine plains (pacha mama), as the w ater as an entirety is divided into the feminine elements of the seas and oceans (qocha) and the masculine rivers (mayu). The w orld of hum ankind is the edge of all of these, between above and be­ low, between heaven and earth, between left and right, between sun and moon, betw een earthly ground and water. Hum anity symbolizes the dynamic balance of social order under the heavens on the one hand and over the agri­ cultural planting terraces (pata) and the laid out corn storage areas (qollqa) on the other. At the dynamic crossing point of both diagonals— represented in the quadrants of the tinku cross of the South— lives the (first) hum an pair (padres) in the m iddle of “this w orld.” It forms the approachable middle point of all polar opposites and is exposed to all complementary interaction. The hum an being is all and one, a product of time and space, he/she is the microcosmos which reflects itself in the macrocosmos, he/she is the part and the whole at the same time. H e is ira and she is arka and as m etaphoric whole, they are m ore than only the sum of their parts, since everthing that is, is W iraqucha, and W iraqucha is man and woman... 9. S o m e M ethod ological C onsiderations: Synchronic, D iachronic, and C om p a ra tiv e A p p roach es E thnographic data are often incomplete and reflect more the fragmentary nature of research material and the pointillistic emic view of a few informants than the ideal cosmological structure of a complex traditional pattern. This is true especially for the Andes, where the acculturation processes have a long history and pre-colonial concepts are hidden by re-interpretation and syn­ cretism related to the colonial impact. The general dualistic concept of an­ thropom orphic arka and ira was often blended with the Christian male/female concept of Christ and the Virgin Mary.

Andean Music, Symbolic Dualism and Cosmology

61

In contrast to this, the triadic social organization of the Inca empire (priests, warriors and farmers, equalling knowledge, power and fertility) came to an end, which m eant the disappearance of the sacerdotal and martial classes. But agricultural life has continued and still expresses in some ways the pre-colonial world view of the Andean peoples. As a result of the accul­ turation betw een the pre-Colum bian traditions and the Christan belief sys­ tem in particular areas, the cultural self-understanding of many informants might often be partial and fragmentary, in the usual explanation: “así es cos­ tum bre!” In addition, it seems that— as in other dualistic societies— the indi­ vidual, as well as a particular group, usually has knowledge of only one m oi­ ety (Ortiz 1969:xvi). Thus a full cosmological view becomes the result of an etic reconstruction of a synchronic concept (cf. Baumann 1990, 1993). In interpreting the ethno­ graphic data, com plemented by the ethnohistorical and archeological facts, the construct of a native cosmovision finally emerges. The actual ethnograph­ ic data highlights the past discrepancies and even m isunderstandings with respect to the two competing sets of cultural concepts, that is, between the native and the Spanish views. The comparison of synchronic and diachronic, of structural and functional methodological approaches leads to an u n der­ standing of a holistic view that takes into account both cultural com ponents and both methodological approaches by transcending their individual points of view. A synchronic approach to the ethnographic data leads to an understanding of the emic conceptual view of the actual musical behavior. These emic con­ cepts can be interpreted in the cosmological context of an “ideal” and “tim e­ less” structure, that is in the interpretation context of present mythology and theory of anthropom orphic dualism. Bringing together the ethnographic and cosmological data, preliminary understanding becomes a symbolic interpre­ tation on a synchronic level. Abbreviated, it can be called synchronic recon­ struction. This ideal synchronic reconstruction is an etic jigsaw puzzle p ri­ marily based on emic data. The second step is the diachronic approach. Archeological and ethnohis­ torical approaches add a historic dimension to symbolic interpretation. The ethnohistorical and archeological data together shape an historical u n der­ standing through a herm eneutic view. Bringing together ethnohistorical and archeological data, the second preliminary understanding becomes a histor­ ical interpretation on the diachronic level. Abbreviated, this can be called diachronic reconstruction. This “ideal” diachronic reconstruction is again an etic jigsaw puzzle but this time based on predom inantly etic data of cultural and social changes. Synchronic and diachronic reconstruction together form then the next step: the analysis and interpretation of the differences within on-going syn­ cretism or transculturation using the comparative method.

62

Max Peter Baumann

Through the comparison of symbolic and historical reconstruction, the comparative approach shapes the herm eneutic key vital for understanding the present cultural system as syncretism. Com parison reveals structural, cul­ tural and sociological parallels between different cultural systems (e.g., the worship of Pacham am a/Virgin Mary). Based on the “double interpretation” of the same phenom enon, in the comparison of “ideal” synchronic and dia­ chronic reconstructions, the differences and discrepancies perceived in eth ­ nographic data become intelligible as an expression of culture in crisis or transition15. W ithin the framework of a dialogue between cultures it may be added that symbolic dualism, the concept of complementariness itself, has to becom e a part of m ethodological considerations. U nderstanding is the creative inter­ play of polar oppositions, reconstructions and interpretations, of understand­ ing and of m isunderstanding. By the acceptance of the “double interpreta­ tions” that com plem ent each other, the “other p a rt” becomes already in the premises the relevant part of oneself. The flexibility of so-called “A ndean thinking” and structure of behavior and understanding seems to be rooted in the fact that the “other,” the “alien” that comes as a contrast from the o u t­ side, can principally be understood as complementary to the “ow n” and “know n.” This contrasts to Christian-oriented thinking which— according to its claim for tru th — is bound to exclusivity. If the Andean w orld concept principally is dual and interprets polar oppositions and truths as two com ple­ mentary parts of the all-encompassing whole, Christian-Cartesian thinking, with its rigid approach and claims for unique truth, then seems still to be predom inantly excluding and monistic (Baumann 1994a:274). N o te s 1

2

3

T his p a p e r is an ex p a n d ed version o f th e article "Das ira-arka-Prinzip im symbolischen Dualismus andinen Denkens” (B aum ann [ed.] 1994). T h e basic c o n c ep t in tro d u ced h e re goes b ack to a p a p e r given at the C o n feren c e of th e M id-A tlantic C h a p te r o f th e Society for E thno m u sico lo g y (M A C SEM ) fro m 11-13 A pril 1986 at P ittsb u rg h , w ith th e title: “H o ck et T e ch n iq u e in Bolivian P a n p ip e E n se m b le s” as w ell as to an u n p u b lish e d m a n u sc rip t p re p a re d for th e Universe of Music: A History (finished 1989). T h e ethnom usicological d ata p red o m in an tly refer to field research carried o u t in several phases from 1977 to 1991 in Bolivia. Based on m ythical narratives, W iraq u ch a an d P achakam aq are u n d e rsto o d in certain in terp reta tio n s as a com p lem en tary p air o f creation, from w hich em erged th e g en d e r u n ification o f P ach am am a as d au g h ter (cf. R ocha 1990:73). W iraq u ch a designates in general, how ever, “th e h ighest crea tio n p rin c ip le ,” w hich, ac cording to som e au th o rs, is a com posite o f pachakamaq, th e first basis o f creatio n (“th e p rin c ip le gov­ ern in g th e co sm o s”) an d pachayachachiq, th e seco n d basis of creatio n ( “th e p rin c ip le in stru c tin g th e co s­ m o s”). T h e c o n c ep t pacha, w hen b ro ad en e d to in clu d e th e infinitives kamaq (to o rd er, to co m m an d , to govern), o r yachay (to know , recognize, learn), could m ean in this co n n e ctio n th e m asculine-fem inine first asp ect o f im plicit o rd e r o f an all-p en etran t creation energy, w h ich w o u ld b e settled o n th e o th e r side o f tim e an d space. T h e th re e -p a rt division in to heaven hanan pacha), ea rth (kay pacha an d hell ukhu pacha) reflects al­ ready, ac co rd in g to Izko (1985:74) and R ocha (1990:106) th e C h ristian w o rld view. I t seem s th a t the o ld e r tw o -p art division of pacha de arriba and pacha de abajo p resen ted th e basis o f th e p re-H isp an ic cosm ovision. T h e reality o f hu m anity co n stitu te d itself in th e im plicit o rd e r w ithin th e m arg in o f te n sio n b e ­ tw een th e tw o basically d ifferent opposites. In th e C hristian in terp reta tio n , th e “w o rld b e lo w ” b ecam e th e U n d erw o rld ukhu pacha), w h ere th e d eg rad e d gods o f th e in n e r ea rth (supaykunas) settled w ith the

(

(

)

(

Andean Music, Symbolic Dualism and Cosmology

4 5 6

7

63

(C hristian) devil. A ccording to A ndean concepts, all “s p irits” o r “n u m in o sa ” co u ld em b o d y b o th good as w ell as b a d aspects. D ecisive is th e balance of th e respective d o u b le ch aracters. Because o f th e deeply ro o te d b elief in P ach am am a and th e syncretic closeness to th e M aria cu lt resu ltin g from th a t belief, th e c o n c ep t o f P acham am a could b e m aintained in th e C hristian view. D u e to th e close tie betw een M aria and P acham am a, it b ecam e im possible for th e priests them selves to dam n th e M o th e r E a rth to th e realm o f “h ell.” M any a u th o rs th e refo re puzzle over th e strange am bivalence as to w h eth e r P ach am am a sh o u ld b e categorized as belonging to ukhu pacha o r kay pacha, a question w hich is o ften left u n ex p lain ed . Cf. P la tt 1976:23; L lan q u e C h an a 1990:88-90; T h o la 1992. Cf. P la tt 1976:Fig. 16, 17; com pare A nsión 1987:143. Ira is always th a t in stru m en t th a t begins. In Q u ech a-sp eak in g areas it is as a rule th a t m e m b er o f th e p a n ­ p ip e p air th a t displays o n e p ip e m ore (B aum ann 1982a:6ff.). In th e A ym ara region this seem s to b e m o re often th e ex a ct opposite. Tinku designates th e pow erful com ing to g e th er o f tw o sides o r p artn ers th a t are o p p o sitio n al b u t still co n n e cted w ith each o th e r. It contains th e carnival gam es th a t resem ble th e fighting sp o rts o f ritu al w hip lashing (wajta tinku o r slinging o f w hips (waraq’a tinku), as w ell as th e (sexual) unificatio n o f tw o p a r t­ n ers, anim als o r things, such as o f llam as o r rivers ( llama tinku, mayu tinku\ B au m an n 1982a:3f.). A d d i­ tional prin c ip le s o f in teractio n are ayni, mita, pallqa and amaru (cp. Earls an d S ilv erb latt 1976:321). T h e co m p o sitio n o f th e ensem ble, w hich is variable in size, an d th e local desig n atio n s o f h ierarchically o rd e re d pairs, w hich differ only negligibly from each oth e r, w ill n o t b e d iscussed fu rth e r here. In this article only th e transregional principle will be illum inated, w hich h ow ever is always ch a ra cte rized b y lo ­ cal variations an d dialects in term s o f m elody, tu n in g of pipes an d term in o lo g y (cp. B aum ann 1981a, 1982a, 1990). T h e pair p rin c ip le o f ira/sanja and arka can b e fo u n d , incidentally, in all tra d itio n al p a n ­ p ip e ensem bles (B aum ann [forthc]). In Q u e c h u a , ira is often designated w ith th e term ñaupaj (front, th e o n e w ho goes first), a n d arka w ith th e te rm qhepaj (b eh in d , th e o n e w ho goes later). T h e sto p p e d p ip e row , th a t is, th o se p ipes th a t are closed at th e b o tto m , is ch aracterized herea fter w ith th e u n d erlin in g o f th e c o rresp o n d in g n u m b e r; the o p en , e q u a l-n u m b ere d seco n d row o f o p en pipes w ith th e co rresp o n d in g n u m b e r w ith o u t un d erlin e: th u s, ira is (Z + 7). T h e acoustic m eaning o f th e “sy m p ath etic,” sim ultaneously so u n d in g o p en p ip e row w ill n o t b e discussed here. F o r m o re inform ation, see B aum ann 1981a:190; 1985b:152f. T h is d ata refers to field research d o cu m en tatio n m ade du rin g th e fiesta from A u g u st 15th to 2 3 rd , 1978, in A ram pam pa. T h e julajula ensem bles cam e from O b erjeria, P araran i an d S ark u ra (30, 26, an d 24 m u ­ sicians, respectively), th e siku ensem bles from A sanquiri, La F ragua, M ollevillque an d C harkaM ark a b i/T a c o n i C aine (6, 6, 6, and 12 p an p ip e players, each gro u p w ith a wankara a n d a wankarita player). T h e fo u rth julajula g ro u p arrived too early in A ram pam pa an d left again b ecau se they believed th a t no o th e r g roups w ere com ing to th e tinku. Cf. C ere ced a 1978; P la tt 1976:18; van den B erg 1990:101 ff. H e translates pachakamaq from th e follow ing m eaningful A ym ara syllables: Pa(ya) tw o, Cha(cha) = p ow er, Qha(na) = light, Ma(ya) one, alone (M iranda-L uizaga 1985:210). Cf. H a rris o n (1989:80, 83); K usch (1986:34); M iranda-L uizaga (1985:168). T h e term inology o f ira (the p rinciple th a t leads) an d arka (the p rin c ip le th a t follows) is u sed h e re c o n ­ sciously, in o rd e r to get away from th e one-sided connotations o f th e term s “m a sc u lin e” a n d “fem in in e .” O n e com pares th e reb y also M iranda-L uizaga (1985:194f.), w ho h ow ever speaks in reg ard to th e “geom ancy o f th e A n d es” ab o u t th e arka-kamachita ( “d efin in g ” principle) and th e ira-kamachita (“fo llow ing” p rin cip le). M iranda-L uizaga uses th e A ym ara concepts o f ira an d arka w rongly, having obviously tra n s ­ p o sed th e m eanings. F o r th e m ethodological discussion of th e m ultiplicity o f reference system s, th e processes o f p articip atio n and in te rp re ta tio n , an d th e spiral o f feedbacks w hich reinforce th e polarities o f ira an d arka in th e ir c o m ­ plem entariness, see B aum ann 1993.

)

8

9

10

11 12

=

13 14

15

=

R e fe re n c e s A n dritzky, W a lter 1989 Schamanismus und rituelles Heilen im Alten Peru. Berlin: C lem ens Zerling. Vol. I: D ie M enschen des Jag u ar, 1-275; Vol. 2: V iracocha, H eilan d d er A n d en , 2 8 1 -5 2 6 . A nsión, Ju a n 1987 Desde el rincón de los muertos. El pensamiento mítico en Ayocucho. Lima: G red es.

Max Peter Baumann

64

A rn old, D enise 1986 Kinship as Cosmology: Potatoes as Offspring among the Aymara of Highland Bolivia. St. A ndrew s: U niversity o f St. A ndrew s, C en tre for L atin A m erican L inguistic S tudies (W o rk in g P a p e r N o.

2 1 ). B astien, Jo se p h W . 1978 Mountain o f the Condor. Metaphor and Ritual in an Andean Ayllu. N ew Y o rk , Los A ngeles, San F rancisco: W e st P u b lish in g Co. B au m ann, M ax P e te r 1979a “D e r C h aran g o - zu r P roblem skizze eines a k k u ltu rie rten M u sik in stru m e n ts.” Musik und Bildung 11:603-12. 1979b Música Andina de Bolivia. G rab acio n es y C om entario: M ax P e te r B aum ann. 1 L P stereo , L au ro y Cia. L P L I/S -0 6 2 (1979). 1981a “Julajulas - ein bolivianisches P anflötenspiel u n d seine M u sik er”. In Studia Instrumentorum Musicae Popularis VII. E rich S tockm ann, ed. Stockholm : M usik h isto risk a M u seet (M usikh istoriska M useets S krifter 9), 158-163. 1981b “M usic, D ance, an d Song of th e C hipayas.” Latin American Music Review 2(2): 171-222. 1982a “M usic o f th e Indios in Bolivia’s A ndean H ig h la n d s.” The World of Music 2 5 (2 ):8 0 -9 8 . 1982b Musik im Andenhochland. Bolivien / Music in the Andean Highlands. Bolivia. (2 LPs: C o m m en ­ tary in E nglisch and G erm an ). Berlin: M usikethnologisch e A bteilung, M useum fü r V ö lk er­ k u n d e, P reu ß isch e r K ulturbesitz (M useum C ollection M C 14). Sojta Chunka Qheshwa Takis Bolivia Llajtamanta/Sesenta Canciones del Quechua Boliviano. 1983 C o ch ab am b a: C en tro P edagógico y C u ltu ral de P ortales. 1985 a “S aiten in stru m en te in L a tein am erik a.” In Studia Instrumentorum Musicae Popularis V III. E rich S tockm ann, ed. S tockholm (M usikhistoriska M useets S krifter 10), 157-76. 1985b “T h e K an tu E n sem ble o f th e Kallaw aya at C harazani (B olivia).” Yearbook for Traditional Music 17:146-66. “M usik, V erstehen u n d S tru k tu r. D as ira-arka-P rinzip im sym bolischen D ualism us an d in er 1990 M u sik ”. Beiträge zur Musikwissenschaft 32(4):274-83. “L istening as E m ic/E tic P rocess in th e C o n te x t o f O b se rv atio n an d In q u iry .” The World of 1993 Music 35(1 ):7-3 3 . 1994a “‘A u f d ie S tim m en in digener V ölker h ö re n ...’. Z u r traditio n ellen M usik als P o litik d e r in te r­ k u lturellen B egegnung.” In Pachamama. Internationaler Kongreß zur Situation indigener Völker in Lateinamerika, vom 14.-16.12.1993. D eu tsch er E ntw ick lu n g sd ien st (D E D an d L a tein ­ am erik a-F o ru m B erlin e.V., eds. Berlin: D E D , 4 4 -51. 1994b “D as ira-arka-P rinzip im sym bolischen D ualism us an d in en D e n k en s.” In: Kosmos der Anden, Weltbild und Symbolik indianischer Tradition in Südamerika. M ax P e te r B au m an n , ed.. M ü n ­ chen: D ied erich s, 2 7 4-316. [forthc] “T h e M usics o f In d ia n Societies in th e Bolivian A n d e s.” In Universe o f Music: A History. Barry B rook an d M alena K uss, eds. Vol. X II “L atin A m erica”. W ashington: S m ith so n ian In stitu te. B au m ann, M ax P e te r (ed.) 1994 Kosmos der Anden. Weltbild und Symbolik indianischer Tradition in Südamerika. M ü n ch en : D iederichs. B ellenger, X avier 1981 Bolivia: Panpipes. R ecordings by L ouis G ira u lt (1950-73). E d . by T h e In te rn atio n a l In stitu te for C om parative M usic Studies. C om m entary by X. Bellenger. 1 L P stereo , E M I-Italian a 3 C /0 6 4 18528 (1981) (M usical Atlas: U N E S C O C ollection); Re-ed. as C D (1988). Berg, H an s van den 1990 La tierra no da así nomas. Los ritos agrícolas en la religión de los aymara-cristianos L a Paz: H IS B O L -U C B /IS E T (Y achay. T ém as m onográficos no. 5, U n iv ersid ad C atólica B oliviana, C o chabam ba). C ereceda, V erónica 1978 Mundo quechua. C ochabam ba: E d ito rial Serrano. D íaz G ainza, Jo sé 1977 Historia Musical de Bolivia. 2 n d . ed. L a Paz: E diciones P u e rta del Sol. D uviols, P ie rre 1974 Duality in the Andes. P a p e r p resen ted at th e “A ndean Sym posium II, A m erican A n th ro p o lo g ical A sso ciatio n ,” M exico City, N ov em b e r 20.

.

Andean Music, Symbolic Dualism and Cosmology

1977

65

La destrucción de las religiones andinas (conquista y colonia). M éxico: U n iv ersid ad N acional

A u tó n o m a d e M éxico (In stitu to d e Investigaciones H istóricas. Serie d e H isto ria G en eral, N o. 9). E arls, J o h n & Iren e Silverblatt 1978 “L a realidad física y social en la cosm ología a n d in a .” In Actes du XLIIe. Congrès International des Américanistes C ongrès d u C entenaire. P aris, 2 - 9 S ep tem b re, p u b lié avec le co n c o u rs d e la F o n d a tio n S inger-P olignac, vol. IV. Paris, 2 9 9-325. F irestone, H o m e r I. 1988 Vachamama en la cultura andina. L a P az, C ochabam ba: Los A m igos del L ibro. G arcilaso d e la V ega, Inca 1976 Comentarios reales de los Incas [1609]. A urelio M iró Q u esad a, ed. 2 vols. V enezuela, s.l. (Italgráfica). (B iblioteca A yacucho 5 -6 ). G onzales B ravo, A n to n io 1948 “M úsica y danza in d íg en as.” In La Paz en Su IV Centenario, 1548-1948. La Paz: E d ició n del C o m ité p ro IV C entenario d e la F u n ació n de La P az, tom o 111:403-23. G o w , R osalind & B ern ab é C on d o ri 1982 Kay pacha. Tradición oral andina. Cuzco: C en tro de E studio s R urales A n d in o s “B arto lo m é de las C asas.” d ’H a rc o u rt, M arg u erite & R aoul d ’H a rc o u rt 1959 La musique des Aymarás sur les hauts plateaux holiviens d'aprés les enregistrements sonores de Louis Girault. Paris: Société des A m éricanistes, M usée de l'H o m m e. d ’H a rc o u rt, R aoul & M arguerite d ’H a rc o u rt 1925 La musique des Incas et ses survivances. 2. vols. Paris: P aul G eu th n e r. H arriso n , Regina 1989 Signs, Songs, and Memory in the Andes. Translating Quechua Language and Culture. 1st. ed. A ustin: U niversity o f T exas Press. Izko, Javier 1985 “M agia espacial y religión telúrica en el N o rte de P otosí, B olivia.” Yachay. Revista de Cultura, Filosofía y Telogia (C ochabam ba: U niversidad C atólica Boliviana) 2:3, 6 7 -1 0 7 . K eiler, B ern h a rd n.d. Instruments and Music o f Bolivia. R ecorded in Bolivia by B erh ard K eiler. C om m entary. 1 LP stereo, E th n ic Folkw ays L ibrary F M 4012. Kessel, J u a n van 1982 Danzas y estructuras sociales de los andes. C uzco: C en tro “B arto lo m é de las C asas”. K usch, R odolfo 1986 América profunda. 3ra.ed. B uenos A ires: E d ito rial B onum . K u tscher, G e rd t 1950 Eine altindianische Hochkultur. Berlin: G eb r. M ann. L ara, Jesús 1980 La literatura de los Quechuas. Ensayo y antología. 3 rd . correc ted ed. La Paz: L ib rería y E dito rial “J u v e n tu d ”. L ip ner, R onnie & Stu L ip n er n .d. Songs and Dances o f Bolivia. C om piled an d ed ited by R onnie an d Stu L ip n er. C o m m en tary . 1 L P stereo, E th n ic Folkw ays R ecords F W 6871. L lan q u e C h an a, D om ingo 1990 La cultura Aymara. Desestructuración o afirmación de identidad. Lima: In stitu to d e E stu d io s A ym arás, T area. M arzal, M anuel M. 1988 Estudios sobre religión campesina. 2da. ed. Lima: P ontificia U n iv ersid ad C atólica del P erú , CONCYTEC. M iranda-L uizaga, Jo rg e 1985 Das Sonnentor. Vom Überleben der archaischen Andenkultur. 1st ed ition. M ü n ch en : D ianusT rikont. M üller, T h o m as & H elg a M üller 1984 “C osm ovisión y celebraciones del m u n d o a n d in o a través del ejem plo d e la co m u n id ad d e Q ’ero (P a u c a rta m b o ).” Allpanchis (C uzco), año X IV , vol. X X , no. 2 3 :1 6 1 -7 5 . O rtiz , A lfonso 1969 The Tewa World. Space, Time, Being, and Becoming in a Pueblo Society. C hicago an d L on d o n : T h e U niversity o f Chicago Press.

.

66

Max Peter Baumann

P latt, T ristan 1976 Espejos y maís. Temas de la estructura simbólica andina. La Paz: C u ad e rn o s d e Investigación C IP C A 10. Ráez R etam ozo, M anuel 1989 Música tradicional del Valle Coica. Lima: A rchivo de M úsica T rad icio n al A n d in a, P o n tifica U n i­ v ersidad C atólica del P erú. (R ecord w ith com m entary). R andall, R o b ert 1982 “Q o y llu r R it’i, an In ca F iesta o f th e Pleiades: Reflections o n T im e an d S pace in th e A n d ean W o rld .” Bulletin de ITnstitut Trancais d’Études. Boletín del Instituto Frances de Estudios Andinos (Lim a), to m o X I, no. 1 -2 :3 7 -8 1 . R ocha, Jo sé A nto n io 1990 Sociedad agraria y religión. Cambio social e identidad en los Valles de Cochabamba. La Paz: H isb o l (Y achay. T ém as m onográficos n o .6, U niversidad C ató lica B oliviana, C o ch ab am b a). R ostw orow ski d e D iez C anseco, M aría 1988 Estructuras andinas del poder. Ideología religiosa y política. 3 ra. ed. Lim a: In s titu to d e E stu d io s P eru an o s. Sichra, Inge (ed.) 1990 Poesie quechua en Bolivie. G eneva: E d itio n s P atiño. S tevenson, R o b ert 1968 Music in Aztec and Inca Territory. Berkeley an d L os A ngeles: U niversity o f C alifo rn ia Press. T h o la, E. V aleriano 1992 Mara Wata. (Calendario). E d itad o p o r C en tro de P ro m o ció n e In vestigación de T eología A ndina. L a Paz: P ro d u ccio n es C IM A . (D eposito Legal 4-12-482-90). U rto n , G ary 1981 A t the Crossroads o f the Earth and the Sky: An Andean Cosmology. A ustin: U niversity o f T exas Press. V alencia C h aco n , A m érico 1989 El siku o zampona. Perspectivas de un legado musical preincaico y sus aplicaciones en el desarrollo

de la música peruana. The Altiplano Bipolar Siku: Study and Projection o f Peruvian Panpipe Orchestras. Bi-lingual edition. Lim a: C en tro d e Investicación y D esarro llo d e la M úsica P eru an a. V argas, T eófilo 1928 Aires nacionales de Bolivia. Vol. I. Santiago d e Chile: C asa A m arillo (forew ord). V okral, E d ita V era 1991 Qoñi-Chiri. La organicación de la cocina y estructuras simbólicas en el Altiplano del Perú. Q u ito : E diciones A bya-Y ala, C O T E S U .

TARA A ND Q ’IWA —W ORL DS OF SO UN D

AN D MEANING H enry S to b a rt

I. Introduction: C a teg o ries o f Sound O ne of the m ost rem arkable characteristics of rural music in the Bolivian Andes is the strong association of certain musical instrum ents, tone colours, genres and tunings with the agricultural cycle and festive calendar. Music should only be played in its appropriate context and, until recently, perfor­ mance of musical instrum ents outside their specified season was likely to be punished by community authorities (Buechler 1980:358). In some cases m u­ sical sounds are considered to have a direct and concrete effect on climatic conditions, and specific instrum ents are played to attract, for example, the rain or frost (Stobart [forthc]). Ethnom usicological studies in other parts of the world have noted corre­ spondences betw een sound structure in music and social structure (e.g. Feld 1984). Similarly, I shall suggest that specific sounds used in musical perfor­ mance, by certain peasant farmers in highland Bolivia, both appear to reflect and are perceived to manipulate social and cosmological structures. In this paper I shall analyse the terms tara and q ’iwa which are used to de­ scribe two reciprocal and opposing categories of sound or timbre. I originally encountered these words as the names for paired sizes of pinkillu duct flutes, so called due to the contrasting tone qualities associated with each instru­ ment. The terms, or concepts, are also found in many other contexts. I shall suggest that through comparison of their varied semantic images it is possible to gain a deeper understanding of the significance of these categories of sound and their use in musical performance. Although these concepts appear to apply to a variety of highland regions of the Southern Andes, the majority of my examples will be drawn from fieldwork in a Quechua-speaking community of ayllu Macha, N orthern Potosí, Bolivia. The terms tara and q’iwa are also widely used by Aymara speakers from other parts of the region. As a starting point and a common thread throughout this paper I shall dis­ cuss the pinkillu duct flute ensembles of N orthern Potosí, which are made from wood and perhaps based on the recorder consorts introduced from Spain in the 16th and 17th centuries.

68

Henry Stobart

2. Pinkillus — th e F lutes o f th e Rainy S eason

Pinkillus, flawtas, lawutas, or tarkas are some of the more common generic terms for the consorts (or tropas) of duct flutes, played by peasant farmers throughout N orthern Potosí and in a few other surrounding provinces. They are played exclusively during the rainy season, from shortly before the feast of Todos Santos in N ovem ber until Carnival in February or March. Their sound is said to attract the rain and to discourage frost and hail, and som e­ times in periods of drought they are played all night long until dawn. As Olivia H arris has also rem arked, pinkillus are especially associated with the dead, who, as a “collective” presence, are said to help the crops to grow through the rainy season (1982:58). The sirinus or sirens, also called yawlus or devils, who are associated with musical creation and enchantm ent, are also said to sound “just like pinkillus". Sirinus live in certain waterfalls, springs, gullies or large rocks— places which represent the points of com munication betw een the inner earth, or ukhu pacha and this world or kay pacha (see M artinez 1989:52; Sanchez 1988). At the end of Carnival, when pinkillus are dramatically hushed, the dead and devils are said to return back into the earth (jallp’a ukhuman). I was told that if pinkillus are heard after this time it would be the “ancestors playing” and anyone who continues to play is likely to grow horns, like a devil. 2.1 The pinkillu tropa or Consort A pinkillu consort usually consists of four sizes (but may include up to six) which play together in parallel octaves (Figure 1). For the larger flutes in p ar­ ticular, the melody is divided between paired instruments pitched a fifth apart, using hocket technique (see Musical Example 1). For example, the largest size, the machu tara, can only play three different pitches and thus re­ lies on its partner, the q ’iwa, to supply the remaining notes. The smaller sizes are usually able to perform a wider range of notes, and the q ’iwita, pitched an octave above the q ’iwa, can play the complete scale. However even with these smaller sizes, players often choose to leave out certain notes of the m el­ ody. It is only on the final note or terminación of the dance songs called wayñus that the instrum ents of the consort all play together on a long pause note, b e ­ fore a new cycle begins. For this note the tara instruments play with two fin­ gers, making a buzzing sound that is rich in harmonics called “tara”, while the q ’iwa instrum ents play with five fingers (or one hole open), which p ro ­ duces a thin sound with few harmonics referred to as “q ’iwa”.

Tara and q ’iw a - W orlds of Sound and Meaning

69

Q'iwa

Tara - - - ............... -

— i

w -> — =■

• T

Machu Tara

= *

i s

3

«

i

------------- id

rr

l= r= * = 4

•

i' r

....... *

;

-------- 1 1= ----- —\

•

XJ

Mus. Ex. 1. Pinkillu wayñu. Hocket technique between tara, qiwa and machu tara pinkillus. Recorded at the Fiesta o f Candelaria in Pocoata (7.30 am, 3.2.91). Performers from Qullqa Pampa.

Q iwita Tara

Q'iwa

Machu Tara Fig. 1. Pinkillu consort

70

Henry Stobart

a)

Ü *=•

• • 0 00 0

----- p.--

e

12

b)

ft ■=>

00 0 9 0 0

a

2 3 45 6

Fig. 2. a) Tara fingering and b) q’iwa fingering

In other words the terms tara and q ’iwa refer to the way in which each in­ strum ent is played rather than to its form of construction or voicing. Tara and q ’iwa pinkillus can only be distinguished from one another by their rela­ tive pitch within the context of the other instrum ents of the consort. 2.2 The Sounds tara and q’iwa The sound tara was decribed to me as “mezclado” or mixed. M ore specifi­ cally tara was said to be “two sounds” or something that sounds with “two m ouths”1. This contrasts with q ’iwa, which is described as a clear sound2 and was specified to be single and without a double’. A hoarse voice or hoarse-sounding animal cries and certain other sounds were descibed as tara. These included a llama in extreme distress or in heat, the bark of a dog or fox, the bray of a donkey, the croaking of a toad and the sound of running water. Similarly Bertonio gives the entry Tarcaca cunca as voz ronca, or hoarse voice (1984/1612 1:338). In contrast, examples of q ’iwa included bird song and the high pitched whining or bickering sounds of llamas. I was told that anything, when it weeps, is q ’iwa— tukuy imata waqashan— in particular this refers to animals or young children who constantly weep, the English notion of “crybabies”. Although the verb waqay, to weep, is used generically to refer to the sound of any musical instrum ent, in the context of q ’iwa it is closer to the English sense of the w ord and specifies weeping from disturbed emotions, such as pain or separation. 2 3 Aesthetics and Performance Practice Pinkillus are blown extremely strongly and alongside the practice of w et­ ting, the block is frequendy adjusted in order to achieve a rich, dense sound and a tartamuliata' or “stam mering” quality. This vibrating sound is caused by strong difference beats which are an aesthetic ideal m uch sought after by

Tara and q'iwa - Worlds of Sound and Meaning

71

the players. Tara thus encompasses both notions of space, as breadth of sound, and time, as in the discontinuous stuttering quality of the tartamuliata. The preference for a “dense” tone quality that is rich in harmonics is found in pinkillu perform ance in other parts of the Andes. I discovered it particularly im portant to the south of Potosí where it is also called tara. Simi­ larly, for the Aymaras of Conima, Southern Peru, Thomas Turino describes how certain players within an ensemble play slightly sharp or flat of the mean pitch series in order to produce a rich abundance of overtones and com bina­ tion tones—which he refers to as “dense unison” (1989:12). In the context of the pinkillu consort the q'iwa sound of an instrum ent was not specifically judged as a “bad sound”, it was just inferior to tara. How ever a poor charango that will not play in tune or any other instrum ent that will not tune with the others is referred to as q’iwa. This is most definite­ ly a negative aesthetic but it does not necessarily mean that the instrum ent in question cannot sound good in another context. For example in the instru­ ment-m aking village of W alata G rande (Prov. Omasuyos, D ept. La Paz), when discussing the possibility of playing my recorder together with a con­ sort of tarkas, I was told that my recorder would either be “igualado”, in tune, or else “q ’iw a”, out of tune with the other instruments. TARA

Q'IW A

Double Sound Dense/M ixed Sound Broad/Fat Sound Energized/Vibrant Sound Discontinuous Positive Aesthetic (In Tune?) Hoarse Voice

Single Sound Clear/Pure Sound Thin Sound Weak Sound Continuous Negative Aesthetic O ut of Tune Weeping

Table 1. Aural associations o f tara and q’iwa

By looking beyond the specifically aural context, we are able to discover m ore about the semantic fields of these two w ords and their broader meanings.

3. T ara and q ’iw a in O th er C o n te x ts (a) N um ber I came across tara in reference to things which have an aspect of being two or double in some way on many occasions. Typical examples were the broad central section or cradle of a sling (Figure 3), woven with a central slit to fa­ cilitate the placing of a stone missile (also see Zorn 1980:8), and the paired

72

Henry Stobart

ear flaps of a ch’ullu (knitted hat), but the most common was a double p o ta­ to, which significantly was also often called a tarka (Figure 4). My host ex­ plained that tara was parenintin, which means “always paired”, and that even multiples of two, such as the num bers four and eight were also tara. Similar explanations were given to me in Aymara speaking areas, including D epart­ ment La Paz.

Tara

Fig. 3. A Sling (warak’a)

ÇTiwa, on the other hand, was always said to be ch’ulla, meaning “single” or “alone”, a concept which refers to objects that belong in pairs but have becom e lost or separated from their partner— for example, a single eye or shoe5. Sometimes when explaining this term, people would relate it to the the sadness of being alone or to death. Libations for the dead are drunk from a single cup but for all other ritual drinking in the Macha region paired cups are used. The dead are ch’ulla, I was told, because they die singly. But once they reach alma llajta, the world of the dead, they live as we do, in couples or families and are no longer ch’ulla or sad. W eeping, sadness and loneliness pervade this aspect of q’iwa reflecting the lonely and troubled journey b e­ tween the w orld of the living and that of the ancestors. I was assured that the dual notion of tara is not the same as yanantin, or the concept of a m irror image referred to by Tristan Platt (1986:228). The hocketing between the paired tara and q ’iwa instruments was however classed as yanantin. But m ore relevant is the opposition allqa and suwamari m entioned by Veronica Cereceda (1990), in her fascinating analysis of the plastic language of colour. This has m uch in common with opposition tara and q ’iwa and the dual, opposed and discontinuous colours of allqa as a posi­ tive value contrast with the single, continuous and negative associations of suwamari.

Tara and q'iwa - Worlds of Sound and Meaning

SOUND

COLOUR

Tara

Allqa

double positive aesthetic discontinuous

double positive aesthetic discontinuous

O ’iwa single negative aesthetic continuous Table 2.

73

Suwamari single negative aesthetic continuous

W hilst the similarities between these oppositions from the aural and visual worlds are striking, it is im portant to note that in practice no connection is made betw een them. O n every occasion that I attem pted to associate the two, people were quick to point out that they belonged to different cate­ gories. (b) Vibrancy and Production O ften when talking about the sound tara, the vibrant quality of the “r ” would be emphasized by making an “a rrr” sound with rolled “r’s”. Similarly, Bertonio gives us the verbs tarrrtatha and tarrthapatha, with triple “r ’s” to re­ fer to the sound of an object being throw n or two rocks smashing together6. These verbs clearly refer to the onom atopoeic sound of objects vibrating on impact, and H ornberger as well (1983) gives the Q uechua verb tarantachay “to trem ble”, for example from fright. This echoes the vibrant, buzzing sound of pinkillu tara. In contrast to the m ultiple vibrations of tara and its associations with m ul­ tiplicity, the ejective “q ’i-” in q ’iwa brings about a shortening of the vowel sound. As Bruce M annheim points out, the ejective concentrates the energy discharge into a reduced interval of time (1991:193). M annheim goes on to establish a series of semantic categories or associative sets based of this form of sound imagery. For Q uechua words with an ejective he notes that the se­ mantic core of the set is smallness, narrowness or thinness (1991:195). A ppropriately in this linguistic context, perhaps the most common uses of the w ord q ’iwa is to refer to a person, animal or object that is unproductive or gives very little. A castrated llama, a white potato plant w ithout chloro­ phyll or a homosexual are all unable to reproduce and are term ed q ’iwa, as is a person who is mean or ungenerous. If you fail to offer food or to buy drinks or constantly press for bargains you are likely to be accused of being q ’iwa. In short, tara is productive and q ’iwa unproductive.

74

Henry Stobart

(c) Density T here are many references to tara as wide or ancho, but we also find that the w ord tar, w ithout the final “a”, is used by both Lara and Lira in their Q uechua dictionaries to refer to excessive tightness or density in the former, and extrem e congestion, in a textile for example, in the latter7. Besides acting as a good description of the tara tone quality, this inform ation suggests that the root of the verb is “ta r” w ithout the final “a” and that we should not limit ourselves to verb stems that include this final “a”. Furtherm ore, apocopation, by which the final vowel of a stem is dropped before the addition of a suffix, is a com m on feature of Aymara grammar. (d) Energy The Q uechua dictionary glosses for the root tar- as congestion or tightness find echoes in the notion of stretching in Aymara. Bertonio translates tartatha as to stretch out a skin with ropes (11:338), which immediately suggests a drumskin, tensed and vibrant. In the same entry Bertonio includes its o p p o ­ site: Ecaptatha. Su contrario, Afloxarse [loosen] (11:338). Significantly, the Spanish w ord flojo was one of the most common translations of q ’iwa, m ean­ ing “loose, lax or slack”. The low energy of q ’iwa thus contrasts with the vi­ brant and energized associations of tara. (e) Balance/Tuning Following this idea of tightness and stretching, Bertonio translates tarakhtaatha as to tie a load on firmly (11:338). H ere, he clearly refers to the loading of animals, and most especially llamas. As I discovered on the annual journey to the valleys with llamas to collect maize, loading llamas is a job which dem ands both considerable skill and strength. The load m ust be p er­ fectly balanced and tied very firmly. If the rope is not tight the bundle quick­ ly loses balance and falls to one side; in resignation or annoyance a llama herder will refer to an overbalanced load as q ’iwasqa. It is doubly q ’iwa\ both the ropes are loose and the load out of balance. Significantly, Bertonio also uses the w ord tartaatha in reference to tuning the strings of a guitar: Quitara tartaatha: tirar las cuerdas de la guitarra (11:338). H ere, as in loading a llama, he is not merely referring to the action of tightening the strings but also to that of bringing the instrum ent into tune. O ne of the musical terms used in the countryside to express tuning string in­ strum ents today is the Spanish verb igualar (iwalar). This word implies the action of bringing things into balance, as in retying the load on a llama’s back. Similarly, as I m entioned earlier, an instrum ent that will not play in tune or constantly slips out of tune is referred to as q ’iwa.

Tara and q ’iw a -W o ú á s of Sound and Meaning

75

W e now note a direct correlation between the use of energy or force as tara and the maintenance of balance or equilibrium. This is contrasted by q ’iwa, which is characterized by low energy, imbalance and disequilibrium. (f) Equilibrium Tara often suggests the image of an object in the process of binary division where the two halves remain connected, as in the case of a double potato (Figure 4a). This is again reflected in the use of tarka yurus in the M acha re­ gion and several other parts of the Andes. These are paired earthenw are rit­ ual drinking vessels, where the two halves are connected by a tube enabling the liquid to pass freely between each side (Figure 4b). The connecting tube ensures that when drinking takes place from one of the two m ouths equilib­ rium between the paired vessels is restored. I am grateful to William Sillar for introducing me to these vessels.

Fig. 4. a) “Tara papa” or "tarka papa” (double potato). Ayllu Macha, Northern Potosí, Bolivia.—b) “Tarka yuru”. Ayllu Macha, Northern Potosí, Bolivia (pers. comm. William Sillar)

In contrast the w ord q ’iwa is often used to describe uneven objects or shapes. My host referred to the uneven lengthed tuning pegs of a charango as q iw a and Bertonio (1984/1612) gives qhehua hanko for a person who is lame with one leg shorter than the other or who limps due to illness8. Similarly a field of uneven shape, where one end is longer than the other, is term ed

76

Henry Stobart

q ’iwa. Such fields are unpopular as they present considerable difficulties when it comes to ploughing with oxen. (g) Culture Following its associations with duality and balance, it is tem pting to assume that tara is perceived as purely a cultural value. This would imply that the relationship tara/q’iwa for sound is analogous to the opposition allqa/suivamari for colour that has been dem onstrated by Veronica Cereceda (1990) as “cultural/non-cultural”. However, although tara is unquestionably involved in the m aintenance and construction of cultural equilibrium, its as­ sociations are sometimes also linked with the negation of cultural values. For example Bertonio (1984/1612) refers to tarcaca tarma as a person who is dis­ obedient, hard or obstinate (11:338) and tarcaca cunca, a hoarse voice (11:338), implies a voice that is out of control. This is echoed by the m odern derogatory term t ’ara, which I was told, with this addition of an ejective, is used to refer to a coarse, harsh or ignorant person. Furtherm ore, this con­ trasts with q ’iwa, which was commonly translated as “cow ard”, “crybaby” or someone who does not want to fight. (h) Sexuality and G ender Mediation In the context of the pinkillu consort, the paired terms tara and q ’iwa are said to be a couple, or qhariwarmi (man and woman). But when I asked which was male and which female the ambivalent responses quickly made me realize that the question was inappropriate9. It would appear that the gender opposition between tara and q ’iwa does not concern male versus female, but rather the degree of gender or sexuality. In this context tara seems to refer to heightened sexuality: the dynamism, vibrancy and uncontrollability of the sexual urge, which may be masculine or feminine10. Perception of sexuality is linked to the countless daily tasks, rituals and so­ cial practices that are differentiated according to gender, whereby men and women are perceived both as complementary and as polar opposites. This notion of male space contrasting to female space reminds us of the image of the tarka yuru above (Figure 4), where tara implies the balancing of paired elements. In practical terms society is viewed to be at its most productive and harm onious when men and women both accomplish their respective, b u t dif­ ferentiated, roles equally and individually. The balanced opposition and separation of the sexes, although culturally productive, as dem onstrated by the many associations of tara above, is per­ haps perceived to be uncreative in terms of sexual reproduction and regener­ ation. Accordingly, excess sexuality is perceived to be uncreative. As Denise A rnold writes that if a woman has too m uch wet, female substance as warm blood or contact with the female-gender earth, her womb will rot. But if a

Tara and q iw a -W orlds of Sound and Meaning

77

man has excess male substance, his hollow, dry penis will blow empty breath and his semen will be said to be frozen (1988:126)". These images reflect the m ost radical position in the polar opposition between the sexes, where con­ tact betw een them is impossible and gendered substances are unable to mix and generate new life. W hilst in the towns q ’iwa is commonly translated as maricón or hom o­ sexual, in the countryside it is used in a less specific way to refer to a variety of aspects of gender mediation. A man with a high-pitched voice is q ’iwa as is a woman who speaks in a low-pitched voice or acts like a man. Similarly the term is used to refer to men when they dress up in w om en’s clothes for cer­ tain rituals. But more specifically, on several occasions I have been told that q ’iwa is khuskan qhari, khuskan warmi or “half-man, half-woman”. As such, q ’iwa represents the conjunction of male and female, where the opposing sexes mix together equally. Summary: TARA

O ’lWA

vibrant/energized positive aesthetic broad sound (rich in harmonics) hoarse sound in tune (balanced) discontinuous stretched/taut broad/productive equilibrium/even dual (joined/paired) highly gendered arrogant/harsh/obstinate

loose/low energy negative aesthetic thin sound (few harmonics) weeping/crying out of tune (out of balance) continuous slack/lax mean/non-productive disequilibrium/uneven single (separate/without partner) mediated gender cowardly/non-aggressive

Table 3.

4. C onclusion s These various images of tara and q ’iwa paint a complex semantic canvas, the full implications of which are well beyond the scope of this short paper. To sum up, I shall limit myself to a few points specifically relevant to music and cosmology. The associations of tara would seem to represent the sometimes violent exertion necessary for the maintenance of equilibrium and harm onious h u ­ man existence, through the definition and balancing of opposed and com pli­ mentary concepts, such as: male/female living/dead upper w orld/low er world sound/silence, etc.

78

Henry Stobart

In contrast q ’iwa occupies a marginal or mediatory position between such opposed concepts, which, whilst perm itting contact and the exchange of en ­ ergies to occur between them, at the same time represents the creation of im ­ balance and disruption of binary order. Thus, for example, the q ’iwa sound is thin, lacking in energy and perceived as a negative aesthetic. It lies midway between silence and the dense, dynam ­ ic sound of tara. As weeping, the thin continuous sound of q ’iwa is associated with the margins between life and death, such as the crying of young children and w om en’s wailing for the dead. Both young children and the dying are, like q ’iwa, weak and unproductive to society but are linked with regenera­ tion. It is healthy, strong and sexually active adults, grown to their full stat­ ure, who, in the same way as tara, are most dynamic and potentially pro d u c­ tive. But, like the obstinacy and uncontrollability associated with adolescents in our own society, this very strength, if mishandled, is potentially destruc­ tive. silence silence dead

q’iwa sound weeping new born/dying

tara sound hoarse voice strong/sexually active

I was told that the world of the dead, as the inversion of our own, is p er­ manently green, and that the souls who live there constantly sing and dance the wayñu dance-songs of the rainy season, but they never perform the dry season genres12. By extension we may perhaps assume that if contact between these worlds did not take place, the world of hum ans would be perm anently dry. It is therefore essential that transference of substances occurs between the worlds of the living and dead in order to bring liquidity to the world of the living and generate new life. Central in this process of exchange seem to be the lonely souls from recent deaths, on route to alma llajta (the world of the dead) and the sirinus who, like other yawlus (devils), live in the marginal regions between the inner earth and the w orld of humans. Significantly, I was told that all sirinus are q’iwa which, besides implying that they are half-man, half-woman, suggests a m e­ diatory position as half-human, half- non-hum an. O n many occasions I have been told that sirinus may appear as humans or transform into a variety of different creatures. In other parts of the Southern Andes sirinus or sirenas are especially associated with the image of a mermaid: half-woman, half-fish (Turino 1983, G iesbert 1980). It is from the sirinus that the new tunes necessary to bring about regenera­ tion each year are collected and whose enchanting music breaks down the barriers between men and w om en13 and between the worlds of the living and dead, drawing them creatively together. These marginal beings and the sound “q ’iwa” seem to represent the fertile conjunction or engendering of male and female, living and dead, dry wind and still water, etc., bringing rain and new life to the w orld of the living. In order to acculturate and socialise this new life, and to stop or control the rain, the vibrant and duplicating en­

Tara and u j,ji

ma la

ri lan

ti

ru

tvi

ra

j j =1

Canción N ° 3. “Rilantiru Tayka”, wayñu (Canto a la llama). Recopilada en 1971

El simbolismo, la reproducción y la música en el ritual

J. 84 ¿ iA * —

(*P i

* Ei

lan ti

k)— #¡ M• —J)----w. . kr n ■■ s— ■fer T “ Y H * --nhay Ta ta li ruy aw ki lia.....

h j) Y - s — ■ v —s 1---— * *— ¿ g L . M ------ • M Tt A ka u rus ju man ki....... way

^

K \ b jc_J ta a

Y- . . . 4 - 4 - v - v - ^ - 4 - v ¡k V :.i4 . —m i—j — •—« u -j L ¥ 1— ..V * --* * ■ ’— say Ta ta li Say t at ma sa ja Hall ta ni mat A ka

ranchas ju man ki

qu ri

ta ta li

way

: Í H — z H 1)— 1~~" s— ¡k s f_ j • . m' «1 •----

— b- I

Edl

Canción N ° 4. “Rilantiru Awki”, wayñu (Canto a la llamá macho). Recopilada en 1971

J. 128

Pí-U ----.h

---- í

Chu pi ki la tas

jtjh— i.[• j i

j

Ka wkiru ra

J) w ¿V m

ma ma

la

* •k k j— kis

a ran ta

JT

fi-p q TWy*- M 9- T=F~ —*--- *L_!-.

pa qu 11 ta say

■■ —F ^ i

r -

ta

S— — 2Z3¿---- ,

li

— = 4HI k J

Y

qu ri ka i cha rus

------ k-—k— ------- 4) ----JY—

ta

pu rir

fr ~

Canción N° 5. “Chupikila”, wayñu (Canto a la alpaca). Recopilada en 1965

tay

---- J

244

Manuel Mamani M.

J. 128

~y— i ff ff Kum pi

ti

QIR T 'J V ?

sa

ta

way

fr-

ma ma

la

ma

ma

la

-=—^i-J-¡— --- S— k--- j - -- -- -- -- -- ñ— -AS---0-i_ - : . . N . M--- Ji--m- - - 0--?--- Y—-------- y-- i—

Canción N ° 6. “Kumpitisa”, wayñu (Canto a la oveja). Recopilada en I960

J. 1 0 4 ^ Kfr- 4 w w o To ri to

5

Jl w

•1

to ri

to

Kaw ki ta pu rin tjtas

r -J t-h -h ta tal to

ta

tal

i i 1 roy

1» l> 1-4-— ------- ,| à »

¿

.

pu fit ma sa rat ma

to roy

qu ri wax ra ni tas

paw-paw

paw- paw

Canción N ° 7. “Toro-Torito”, wayño (Canto al cordero). Recopilado en 1967

J. 1 0 8

\jkh*% m ~Á — —— Vi

si

} í }i j i _ | — ¡ *4 — — - — - — í-_ J J— ! = ■ ta,

wi

si

ta

Qu ri kanchatpur japt wa

^

>

jj >

.h

kim sa qaw rak a

Ay

Ay

i 1 ji i panj twa

w

ni

ni

■

na

na

ni

na

ni

na

ni

1 » Jl Ay

ni

na

tí*

l - j ) J) J) &— 4

Canción N ° 8. “Wisita-Wisita”, wayño (Canción de visita). Recopilada en 1979

i

El simbolismo, la reproducción y la música en el ritual

245

J.9 8

P

la

jb

b

h

Ru mi ru ru mi ru

K -s -¿ m í 1 } --------------------»-- i

k

way

t)* ñu

«r lia

------ V r z F f ¡ =• Hm5= thuq t'a

•K

- hi — —• '^

i

i ña ni

4=

©-------w ly

fcf*» - b — V --------- 1 * wf- -1— 1

m

¿/e uminaria). Recopilada en 1971

Candor N ° 9. “Romero-Ro mero”, y7oreo (C

J. 84 f P * H - .f r

P

J*

Ri lan Kaw t i

r f+ -

Lb

■g===

-b -—

= f r = V -v -J

«fr...J ti ru

ru

saj sar

h -^ -h *

tay

ka

la nha

xan

tas

h 1 J J —# ---------Ru mir ri ru

Ru mi ru

5= f r = ' -r-= -JE ---- ¡ F F f i J— . - —>—«i—

J

ru

mi

mi

ru

ru

...... . i S k " S - ■■v t= —é — i—« --------- 1

Canción N ° 10. “Rumiru-Rumiru” wayñu (Canto de floreo). Recopilada en 1979 por M. Mamani

TRADITION A ND DYNAMISM IN ECUADORIAN ANDEAN QU IC H U A SANJUÁN: MACROCOSM IN FORMULAIC EXPRESSION, MICROCOSM IN RITUAL ABSORPTION John M .S c h e c h t e r

The texts of Ecuadorian highland Q uichua sanjuán reflect both the m acro­ cosm of regional culture and, on one occasion, the microcosm of a specific ritual, the wawa velorio (child’s wake, or velorio de angelito). In 1980 and 1990, in the Q uichua comunas on the slopes of Mt. Cotacachi, Im babura Province, in the northern sierra, close by the cantonal center of Cotacachi, sanjuán was a musical expression of both ritual and non-ritual context. Its form was complex litany: amidst the regular repetition of a single, primary motive, one new break, or secondary, motive (which Q uichua harpists may denote by the term esquina) may be inserted (Lomax 1968:58:9.[a]). Sanjuán is m ost often in simple duple meter, and it is either sung a cappella or with instrum ental accompaniment, or perform ed instrumentally w ithout sung text. Sanjuán is known and perform ed by Quichuas of both genders and of all ages. If it is played on the arpa imbabureña (see Schechter 1992b), local perform ance practice requires a one-handed golpe on the harp soundbox. The golpeador, a second male Q uichua (Im babura Q uichua harpists and golpeadores are male), is specially selected by the harpist for his abilities at striking the rhythm on the harp and at singing. W henever perform ed with a group of Q uichua listeners present, sanjuán is danced with a strong backand-forth stomp, which coincides with the golpe on the harp. Sanjuán is docum ented in the literature back at least to the 1860s.1Bearing on the current complex litany form of the genre, with its dominating primary motive, is H assaurek’s description of a June 28, 1863, San Juan festival in Cayambe: “...they played the same tune, consisting of only a few notes, d u r­ ing the whole of the m ortal two hours that the dance lasted. This tune is also called ‘San Ju a n ’” (1867:283). The same w riter’s account of San Juan festival dancing in the same year in Lago San Pablo, near present-day Otavalo, close to Cotacachi, speaks of area Q uichua dancing to “m onotonous” songs (ibid.-.266-1). Q uichua sanjuán is strongly traditional to— and quite localized within— Im babura Province, a fact claimed by Segundo Luis M oreno A ndrade (1972:150) and confirmed in my own fieldwork. Nevertheless, the genre is also close in musical character to the Peruvian wayno, which dates back to the early colonial period.

248

John M. Schechter

Sanjuán is the prom inent vehicle for the musical and textual creativity of Cotacachi Quichua. The substantial variety of sanjuanes allows a singer to choose between one sanjuán whose text is nearly fixed, traditionally, and an­ other whose text is less fixed, thus perm itting m ore textual improvisation by the singer. As to melodic content, analysis of 302 discrete sanjuán perfor­ mances in 1979-1980 (see Schechter 1982-11:245-6) reveals regular use of al­ ternate pitches in identical sanjuanes— even in the same sanjuán perform ance by the same musician. The invariance in sanjuán, then, lies not in periodic repetition of the exact same sequence of pitches but in the fact that the rhythmic structure of all segments of the phrase (often two segments) re­ mains identical in every statem ent of the complete phrase (Schechter 1992a:394-401). In sum, sanjuán exists as fixed form, not as fixed melody. In describing the learning process of the poet-singer in Yugoslav oral tra­ dition, A lbert L ord notes that the rhythm and melody are ... to be the framework for the expression of [the singer’s] ideas. From then on what he does must be within the limits of the rhythmic pattern. ... His problem is now one of fitting his thoughts and their expression into this fairly rigid form. The rigidity of form may vary from culture to culture...but the problem remains essentially the same— that of fitting thought to rhythmic pattern ([I960] 1978:21-2).

Lord had the further notion (ibid.32) that the oral poet links phrases by means of parallelism and balancing, a notion expanded upon by David Buchan twelve years after Lord, in his discussion of ballad structure and the generative processes of that genre in northeastern Scotland (1972:88). In an­ other writing (Schechter 1987), I examined the ramifications of these ideas of Lord and Buchan2 in an investigation of semantic and syntactic parallelisms in Cotacachi Q uichua sanjuán verse patterning (see also H arrison 1989:20). In the present paper, I wish to focus not on semantic and syntactic paral­ lelisms, but rather on formulaic expression, per se, in Cotacachi Q uichua sanjuán. Textual elements of sanjuán texts recorded in situ in 1980 em body formulaic expression (the Parry-Lord paradigm ).’ Certain lines, words, and phrases appear widely in different sanjuanes, regularly interchangeable with other elements of the same order. The pattern is that of Milman Parry’s “for­ m ula”: as defined by Lord ([I960] 1978:4), the “form ula” is “... ‘a group of words which is regularly employed under the same metrical conditions to ex­ press a given essential idea.’” “The most frequent actions in the story, the verbs, are often com plete formulas in themselves, filling either the first or the second half of the line, ...” {ibid:.34). “The commonest [formulas] which [the poet] uses set a basic pattern, and once he has the basic pattern firmly in his grasp, he needs only to substitute another word for the key one” {ibid:.36). A ppendix 1 illustrates this formulaic operation in circum-Cotacachi san­ juán. It presents, in Parry’s phrase, (substitution) ‘“ systems’” (Lord [1960] 1978:35), mostly but not entirely verbs, in sanjuán lines of from seven to twelve syllables. In each case, any of the words or phrases grouped to the left is com binable in spontaneous sanjuán verse-making, with (any of) the word(s) to the right, which are m ost often verbs. This formulaic substituta-

Tradition and Dynamism in Ecuadorian Andean Quichua sanjuán

249

bility of Q uichua nouns, noun-endings, verbs, verb tenses, and moods [indic­ ative; imperative; subjunctive] suggests a textual parallel to the music: as stated above, prim ary motives of Q uichua sanjuanes regularly perm it alter­ nate pitches. Commenting on the use of formula in the Yugoslav oral tradi­ tion, A lbert L ord [ibid.-.34) noted that “The most stable formulas will be those for the most common ideas of the poetry.” Since verbs are the princi­ pal interchangeable elements in sanjuán expression, it is necessary to exam ­ ine the verbs that are used repeatedly in the substitution systems in A ppen­ dix 1. O f the 41 different verbs in A ppendix 1, eight appear in four or more groups; these verbs are: machana [to get drunk] (four systems); kana [to be] (four systems); tigrana [to return, or to turn] (four systems); muyuna [to go this and that way] (four systems); nina [to say] (five systems); sha7nuna [to come] (five systems); bailana [to dance] (eight systems); and, purina [to walk] (nine systems). Bailana occurs frequently as a reflection of the festive occasion itself where sanjuán is being perform ed, and it often appears, in the text transcriptions, in imperative form: “D ance!”. Tigrana is used partly for the same reasons (“Turn! this way, turn! that way,” as commands during dancing), partly in a semantic context unrelated to the festive occasion per se: that of returning sad, having been unable to meet one’s loved one; as such, it frequently is m atched with wakai wakai, or llaki llaki. Nina appears solely in a quotative function, either participially or in second person singular. Machana is fixed: to the “fixed” characters, “Taita M anuil” and “Rusa M aría,” of the san­ juanes, “Rusa M aría wasi rupajm i” and “Rusa M aría K ituaña,” respectively; machana also appears tied to the wawa velorio occasion, in “Achi mamaka m achashka.” Kana facilitates the elaboration of certain static conditions, such as all the sheep’s features, in “N uka llama di mi vida,” where it serves to mean “has,” or in relation to such phrases as, “Paya jinti,” “Rukum ari,” “Maija apashka,” “Sultira w arm i,” and “Sultira runa,” where it identifies life stages or indefinite location. It is the three verbs, muyuna, shamuna, and purina, often interchangeable among themselves in particular groupings, that: extend beyond the festive occasion itself; are not “fixed” to fixed texts or to the wawa velorio occasion; do not reflect static conditions or particular grammatical function. I have de­ scribed elsewhere (Schechter 1987:36-8) how the verb purina functions in a m etaphorically positive sense, to express either walking from home to home on behalf of the indigenous or mestizo community, or being responsible by attending (“walking over to— ”) evening adult education classes. In the san­ juán song text, purina, in com bination with shamuna and muyuna and, to a slightly lesser degree, tigrana, is no longer metaphorical in a political sense or in an educational context; it is now “extended” to the personal realm— of “wandering ab o u t,” “this way and that way” {muyuna), looking for one’s b e­ loved, walking about sad at being rejected or at being unable to locate the loved one, going about just because of the loved one, just speaking of the

250

John M. Schechter

loved one. It is clear that purina, appearing in the largest num ber of systems, expresses, in L o rd ’s terms, one of the most common ideas in local sanjuán poetry: w andering about— thinking of, suffering on account of, speaking of, one’s mate. If one traces purina through its various m etaphoric dilations, from walk­ ing, p er se, along Mt. Cotacachi’s chaki ñanes (footpaths) or roadways— p u r­ suing the daily routine of area Q uichua agricultural, domestic, and market labors, all of which require walking; to walking for the com m unity’s benefit or for one’s own educational benefit; to wandering, going about for love, one notes a progression into m ore and more abstract realms, from physical m ove­ m ent for survival, to movement for broadly social purposes, to movement for personal, em otional reasons. The verb purina thus exemplifies broad-based and “exten d ed ” cultural m etaphor, in James Fernández’s sense of persons taking experience from one domain, where the action is concretely concep­ tualized, and “extending” the term into more abstract domains (1978:185). In Fernández’s terms, the domain of purina— walking— is “vital” {ibid.:205) to Cotacachi Q uichua lifeways; thus, that sphere of action is exploited on dif­ ferent levels of abstraction, in different contexts, for different expressive p u r­ poses. F or the Q uichua of Cotacachi, ethnographic data reveal that purina— walking— is a vital domain of daily, concrete existence, an activity fundam en­ tal to survival, an activity which subsequently is “extended” first into positive m etaphor in Cotacachi Q uichua verbal expression (“walking on behalf of,” “walking for one’s educational im provem ent”), and finally into the m ore ab­ stract realm of emotional expression, in sanjuán text (Schechter 1987:38-9). Thus, the study of Cotacachi Q uichua formulaic substitution systems in san­ juán texts reveals an emphasis on a vital dom ain of the local-regional m acro­ cosm: walking. The traditional character of sanjuán, reflected in the generalized operation of formulaic substitutability focusing on prom inent domains of behavior and lifeways, is counterbalanced by certain dynamic forces that inject new life in­ to the traditional texts. O ne of these forces for creativity and innovation is the absorption of ritual behaviors into sanjuán texts being perform ed at the mom ent. I refer to the effects on established texts of behaviors I and p er­ forming Q uichua musicians observed at children’s wakes on Mt. Cotacachi’s slopes, in this case in late 1979 to early 1980.4 In the festive child’s wake rit­ ual— one whose principal behavioral param eters are shared by diverse Ro­ man Catholic cultures throughout Latin America and the Caribbean, and a ritual that is docum ented in this Spanish-speaking hem isphere back at least to the late 18th century5, the recently deceased infant is displayed prom inent­ ly in its home. Festive dancing to prom inent local musical genres, played on locally prom inent instruments, takes place through the night, accom panied by consum ption of food and alcoholic beverage.

Tradition and Dynamism in Ecuadorian Andean Quichua sanjuáti

251

The reliance upon formulaic expression, in the on-the-spot creation of san­ juán phrases, facilitates improvisation. Sanjuán perform ance in wawa velorio, in my experience at four children’s wakes— three in 1979-1980, and one in A ugust 1990— is frequently improvisational. Again, there is a historical paral­ lel in Hassaurek. Commenting on Q uichua performances in general partic­ ularly in the Cayambe area, but suggesting northern highland indígenas in general, he notes: “I soon afterwards had an opportunity to observe that the Indians on such [festive] occasions sing any thing that flashes through their minds, accommodating the words to the melody. ...” (1867:297-8). Today, in Cotacachi Q uichua wawa velorio, the singer frequently takes textually crea­ tive cues from a rem ark by the harpist, from the current dancing activity or lack thereof by those present, from his knowledge of recent courting activ­ ities of the harpist, or from activities of the godparents of the deceased. Please consult A ppendix 2 for the following examples. In the text of NIA (that is, the fifth sanjuán in my thematic catalogue [Schechter 1982-11:259-86] with title N ot Identified), Perform ance A., at wawa velorio 2, 12-13 January 1980, the singer first engages in conversation with the harpist, as he begins to play the sanjuán-, they note the disappear­ ance of the godm other and the fact that the godfather, drunk, has fallen asleep. Then harpist Sergio improvises the sung text, to his own music: “W here is the godm other? G odm other, make them dance. ...” His singercom panion, Gerónim o, alongside, counters, singing: “The godfather gone, the godm other drunk (They have presum ed she has gone to Cotacachi to get dru n k ).” They have improvised a new text: by means of formulaic expres­ sion, they have created a new 8-syllable substitution system (found on page 4 of A ppendix 1), matching syllabically the 8 notes articulated in each half of the sanjuán NI.5 musical phrase you find at the top of page 1 of Appendix 2. The text springs from the situation, at this particular wawa velorio, on this particular night. Towards the end of the text transcription of sanjuán N I.7, Perform ance A., at this same wawa velorio in January 1980, G erónim o teases in song his musician-partner, Sergio, about the fact that likely Sergio will soon marry the wom an he had been courting at an earlier velorio-. “Sergio Bihuela is suffering greatly.” H arpist Sergio shouts a denial, alleging he is about to finish off that affair. G erónim o responds, again singing, that Sergio is becoming a Pozuzo man— suggesting he will be betrothed to that woman. G erónim o has created another new verse-couplet to fit within another 8-syllable constraint. In the course of wawa velorio 1, 28-29 Decem ber 1979, Roberto, singing to the traditional sanjuán, “R u ku kuskungu,” Perform ance B., discards the traditional text (this text can be seen in Perform ance A.) and improvises, within the “R u ku kuskungu” 10-syllable-line constraint, his thoughts about the relative lack, to this point in the wake evening, of accompanying persons and of dancing people, and about the fact that he is prepared to greet the dawn all alone, if necessary (see A ppendix 2). “R uku kuskungu” in fact dates

252

John M. Schechter

back at least to the mid-19th century; in 1868 Juan León M era published a text, “Atahualpa H uañui” (“The D eath of A tahualpa”) (1868:17) that, in its verse-structure and content, is clearly the ancestor of the sanjuán I recorded 110 years later (Schechter 1982-11:564-8). This sanjuán, which appears to have been in its 19th-century form a lam ent on the death of Inca Atawalpa, the “Q uito Inca” who reigned over E cuador in the last years of the Inca E m ­ pire, is today sung in northern Ecuador w ithout the specific references to the Inca and to his demise. The death is accom panied by the wails of owl and dove in the older rendition; in the 1980 Cotacachi version, the singer (Perfor­ mance A., wawa velorio 1) preserves the owl’s wailing a death-wail, but the “dove-child” is now not in a tree but in heaven— perhaps suggesting that the dead child in the wawa velorio room is that dove-child, now in heaven. “R u ku kuskungu" was perform ed, with sung text, in two of the three wawa velorios I attended in 1979-1980; hence, it might be conjectured that today’s Q uichua musicians believe this sanjuán appropriate for presentation at the death not of a great leader, but of a small infant or child. It is the system of formulaic expression that permits the critical thematic substitution— con­ textually appropriate— of “janaj pachapi,” (up in heaven) in 1980, for the 19th-century words, “janaj yurapi” (up in the tree). Finally, the Perform ance A. verse, “A chí taitaka wakajunmari, L laki llakilla tiyajujunmari” in A ppen­ dix 2 is absent from the 19th-century version; its presence here in the 1979 wawa velorio likely springs again from context: here, harpist Sergio inter­ rupts the regular singer, Roberto, to “announce” in song an event pertaining to the godfather’s behavior, at this moment: he is seen to be weeping, at his godchild’s death. Again, as with the “janajpachapi” substitution, the new text is generated by the wawa velorio setting. Inasm uch as sanjuán can be viewed as more a vehicle for expression than a fixed song, improvisation is natural and frequent, especially in natural con­ text such as wawa velorio. In all the cited wawa velorio instances, the improviser-singer expresses his spontaneous thoughts of the m om ent within the melodic and line-syllabic constraints of the particular sanjuán. The text-music examples of the operation of this child-wake-improvisatory sanjuán provi­ ded in A ppendix 2 dem onstrate the ability of this musical genre to accom­ modate, or absorb, prom inent, felt behaviors and events of the wawa velorio ritual. This rite, as I have discussed elsewhere (see Schechter 1988), serves as an em blem — or microcosm— of its particular culture, in Cotacachi, Ecuador, as well as in other Latin American localities in different times and places. The Latin American child’s wake embodies local-cultural preferences in instru­ mental ensemble-types, in dance-types, in verse-types, in game-types, in foods, in drinks, in types of courting behavior— in sum, in both material and expressive cultural aspects. Cotacachi Q uichua wawa velorio in 1980 and 1990, with musical genres vacación, sanjuán, and pareja1-, with the sanjuán dance-step; with harpist playing arpa imbabureña accompanied by golpeador-

Tradition and Dynamism in Ecuadorian Andean Quichua sanjuán

253

singer perform ing both memorized verses and verses improvised under con­ straints of formulaic expression; with barley and maize gruel, stewed corn, and cane-alcohol trago, is a microcosm of Cotacachi Q uichua culture of this time period. To summarize, Andean Q uichua sanjuán of Cotacachi, Im babura, E cua­ dor, is both traditional and dynamic: in its regular formulaic substitutability, sanjuán text emphasizes param ount domains in the regional macrocosm, lifeways; in the context of one ritual, wauia velorio, sanjuán reveals the ability to absorb into its texts prom inent behavioral and phenom enal elements of the rite itself, laying the groundw ork for textual variants and instilling the genre with a dynamic character. Its sensitivity to its cultural surroundings— both broadly (lifeways) and narrowly (wawa velorio ritual) construed— is surely one reason for the durability of sanjuán as the musical spirit of the Q uichua of Cotacachi, Im babura. N o te s 1 2 3

H assa u rek 1867; Jim én ez d e la E sp ad a 2:1884: X X I; M oreno A n d rad e 1923:27. See also, on parallel an d appositional thinking specifically in central E c u ad o rian h ig h lan d Q u ic h u a song, R egina M acD o n ald 1979:236-7. See A lb ert B. L o rd , “T h e S inger o f T a les,” 1960, and th e analyses, b ased o n this p arad ig m , o f M exican an d A m erican blues, by M cD ow ell, 1972, an d by T ito n , 1977, respectively. See S ch ec h ter 1983 for a fuller acco u n t o f this ritual as p racticed in Q u ic h u a co m m u n ities in this secto r o f Im b a b u ra province. See S ch ec h ter 1988. See S ch ec h ter 1983 for a full discussion o f th ese genres.

corrido

4 5 6

R e fe re n c e s B u chan, D avid 1972 L ondon: R outledge and K egan Paul. F ern an d ez , Jam es W . 1978 “Syllogism s o f A ssociation: Som e M o d ern E xtensions o f A stu rian D eep so n g .” In R ichard M . D o rso n , ed. Paris: M o uton, 183-206. H a rriso n , Regina 1989 A ustin: U n i­ versity o f T exas Press. H assa u rek , F. 1867 N ew Y ork: H u rd an d H o u g h to n . Jim én ez d e la E sp ad a, D . M arcos 1884 “Y aravíes Q u ite ñ o s.” In T o m o S egundo. M adrid: Im p re n ta de F o rtan e t, I-L X X X II. L o m ax, A lan 1968 N ew B runsw ick: T ra n sac tio n Books. L o rd , A lbert 1978 N ew Y ork: A theneum ; rep rin ted by arran g e m en t w ith H a rv ard U niversity P ress. 1st ed itio n 1960. M acD o n ald , R egina L ee H arriso n 1979 P h .D . dissertation, U niversity o f Illinois at U rb an a-C h am p aig n .

TheBalladandthe Folk.

Folklore in the

Modern World.

Signs, Songs, andMemory in theAndes: Translating Quechua Languageand Culture.

Four Years amongSpanish-Americans. Madrid, 1881.

Actas de la Cuarta Reunión, Congreso Internacional de Americanistas,

Folk SongStyleandCulture. The Singer of Tales.

Andean Indigenous Expression: A Textual and Cultural Study of Hispanic-American and Quichua Poetry in Ecuador.

John M. Schechter

254

M cD ow ell, J o h n H . 1972 “T h e M exican F orm ula an d T hem e in a Ballad T ra d itio n .” 85:205-20. M era, J u a n L eón 1868 Q u ito : Im p re n ta d e J. P ab lo Sanz. M o ren o A n d rad e, S eg u n d o Luis 1923 Q uito: T ipografía y E n c u ad em a ció n Salesianas. 1972 Q u ito : E d ito ria l C asa d e la C u ltu ra E cuatoriana. S ch ech ter, J o h n M. 1982 3 volum es. P h .D . d issertatio n . A ustin: T h e U n i­ versity o f T exas at A ustin. 1983 “ y M usic in th e C h ild ’s W ake of E c u a d o r an d H isp an ic S o u th A m erica, P ast and P re s e n t.” 4(1): 1-80. 1987 “Q u e c h u a in N o rth e rn H ig h lan d E cu ad o r: H a rp M usic as S tru ctu ral M e ta p h o r on X III(l):2 7 -4 6 . 1988 V elorio de A ngelito / B aquiné / W aw a V elorio: L atin A m erican S tudies W o rk in g P a p e r no.3. S anta C ruz. U niversity o f California. 1992a “L atin A m erica / E c u a d o r.” In 2 n d edition. J e ff T o d d T ito n , general ed. N ew Y ork: S ch irm er B ooks, 3 7 6 -4 2 8 . 1992b K ent, O hio: K en t S tate U niversity Press. T ito n , J e ff T o d d 1977 U rb an a, C hicago, L o n d o n : U niversity o f Illinois Press.

Corrido:

Folklore

Journal of American

Ojeada Histórico-Crítica sobre la Poesía Ecuatoriana, desde su época más Remota hasta Nuestros Días.

LaMúsica en laProvinciadeImbabura. Historia de laMúsica en el Ecuador: Volumen Primero Prehistoria.

Music in a Northern Ecuadorian Highland Locus: Diatonic Harp, Genres, Harpists, and Their Ritual Junction in the Quechua Child’s Wake. Corona Baile: Latin American MusicReview. Sanjuán Purina.”Journal ofLatinAmerican Lore

Local, Latin American Child’s Wake.

The Emblematic Nature of the Transcultural, Yet

Worlds of Music: An Introduction to the Music of the World’s Peoples. TheIndispensable Harp: Historical Development, Modern Roles, Configurations, and Performance Practices in EcuadorandLatinAmerica.

Early Downhome Blues: A Musical and Cultural Analysis.

A P P E N D IX I: Formulaic Expression in sanjuán A. Substitution Systems in 7-Syllable Lines: A yunashka W ak ai w akai T ig rash p alla

pu rin i - purinki

{

K an ta nish p a K anm antalla

tigrani m uyuni

L laki llaki N a pim anta

/

S huilla sh u n g u

1 /■

W ak ai w akai

J

charini

C y irtu p ach a nijpika L lull'pallam i

Tradition and Dynamism in Ecuadorian Andean Quichua sanjuán •iyasha M aitachari llujshisha

ñ u k a w arm i ñ u k a n ira

r

yarkani

}

karkani

ñ u k a chula

P aya jinti R ukum ari

B.

Substitution Systems in 8-Syllable Lines: p u r in i- p u rinki - pu rish a kidarka - kidajun

W akai w akailla W akai w akaim i L laki llakilla

}

tigranki m uyunki sham uni

M ana p im anta M ana m aim anta K an tam im an ta K anm antallam i

p u rin i - p u rinki

K anm antam ari

sham uni - sham ujpi - sh am u sh p a

K an ta nishpam i

m uyuni

K an ta nishpalla

juvani

V

K an m a n tam a n ta P a ita nishpam i Im a nishpalla

L lakisham ari nirkanki Ju y ash am ari

J

K achigupapash

1

T rag u g u p ap ash

J

illajpi

ru tu n i L larn ag u tarn i

jatuni

255

256

John M. Schechter

Y ana shim igu C hilpi rinrigu C hilpi sillugu Y ana m akigu P iru ru kachugu* C h im b u lu sikigu*

kaparka

P in ta d u llam agu* P u tu ch u p a g u P alta lulungu W a rk u lulungu M ilm a sapagu

y

(second and th ird syllables o f first w o rd a by singer as one syllable)

M aija ap a sh k a

ñ u k a jatu sh k a ñ u k a w añ u sh k a

W aynandirajm i Jillu n d irajm i

K ashpapash - kajpipash

1 J

jipaka

1 J

tu kunki

m ashashkam ari T a ita M anuilka T aita M an (u )ilp ash

m ash'shkam ari

}

m ach'shkallam i m ach'shkagum i

M anllarishkam i M anllarishpam i

rishka nin rishkanka rishkam i S irinkapajm i

'l

I

rishkaña

Sanja w ashapi

J

^

rishkashi rishka nin sirinm an sirinka

Tradition and Dynamism in Ecuadorian Andean Quichua sanjuán

R usa ru n ak a

\ m achashka

R usitagupash R usa M aria

{

R usitaguka Ish k an d ig u m i

m achanm i m acharka

/

K w idadullata Rusita K w idadullapash K w idariyankilla

►